Curtain Call
by TheGryfter
Summary: Sequel to That's So Portmanteau. Finn arranges a reunion for the Glee club's 10th anniversary. Back together again for the first time in years, the group reflect on life, love, and everything in-between.
1. Intro

(Glee: Curtain Call)

by

(theGryfter)

(Based on characters created by Ryan Murphy, belonging to Fox Studios )  
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The minute I finished _That's So Portmanteau,_ I started this. I just knew the story wasn't finished.

Set on the 10th anniversary of the day Mr. Schu started the Glee club, the kida are all grown up.

How has life treated them? Where are they now? And can they still find the magic in the music?  
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**DRAMATIS****PERSONAE****;***

**NOA****H ****PUCKERMA****N**- HIS HEAD SHAVED, BUT WITH A STRIP OF A GOATEE LIKE A MOHAWK FOR HIS CHIN.

**FIN****N ****HUDSO****N**- HAIR CUT MARINE STYLE - LEANER, TRIMMER, SOMEHOW TALLER.

**MIK****E ****CHAN****G**- LOOKING EXACTLY LIKE HE ALWAYS DID - FULL BODIED HAIR AND A DANCER'S BODY.

**SA****M ****EVAN****S**- STILL THE WAVY BLONDE, A THICK MOUSTACHE NOW COVERING THE TROUTY MOUTH.

**BLAIN****E ****ANDERSO****N**- MORE GAUNT, NOT QUITE AS PRIMPED AND TURNED OUT.

**KUR****T ****HUMME****L**- HAIR THINNING, WITH NOTICEABLE BOTOX FEATURES.

**ROR****Y ****FLANAGA****N**- CHUBBIER, BUT NO MORE OF THAT BABY FAT. HARDER LINES TO HIS FACE.

**ARTI****E ****ABRAHAM****S**- COIFFED HAIR, GOLD-RIMMED SPECTACLES - LOOKING POISED AND ACCOMPLISHED.

**RACHE****L ****BERR****Y**- STILL PETITE, BUT WITH FLOWING, CURLED RAVEN LOCKS AND HARDER EYES.

**QUIN****N ****FABRA****Y**- BLONDE, STREAKED HAIR HANGING PAST HER SHOULDERS, AND A TIGHTNESS AROUND HER MOUTH THAT WAS NEVER THERE BEFORE.

**MERCEDE****S ****EVANS-JONE****S**- NOW ONLY SLIGHTLY VOLUPTUOUS, CARRIES HERSELF WITH A REGALITY OF THE PRIVILEGED.

**TIN****A ****COHEN-CHAN****G**- HAIR SLICED TO A BOB, ALL BUTTONED-UP AND PROFESSIONAL.

**SUGA****R ****MOTT****A**- LOOKS LIKE A SOCIALITE AFTER 10 YEARS IN VEGAS.

**BRITTAN****Y ****S****. ****PIERC****E**- STILL SLIM AND ATHLETIC, BUT LESS OF THE BLANK EXPRESSION AND MORE LAUGH-LINES.

**SANTAN****A ****LOPE****Z**- THE FAMILIAR PONYTAIL, BUT THE LESS FAMILIAR GLASSES AND CHEEKY GRIN THAT NEVER LEAVES.

**WIL****L S****CHUESTE****R**- HAIR NOTICEABLY LONGER, NOW DAPPLED WITH GREY AT THE TEMPLES.

**EMM****A ****SCHUESTE****R**- POLISHED AND PERFECT AND JUST AS DOE-EYED AS EVER.

**SU****E ****SYLVESTE****R**- SURPRISINGLY, LOOKS FIVE YEARS YOUNGER. ALSO, LAUGHING. AND NOT AT PEOPLE'S PAIN.

.

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**THE SOUNDTRACK***

**01 - ****Bowling for Soup**** - **high school never ends

**02 - ****Nine Days**** - **story of a girl

**03 - ****Mariah Carey**** - **i'll be there

**04 - ****Vonda Shepard**** – **neighborhood

**05 - ****Nickelback**** – **photograph

**06 - ****Carly Simon**** - **last night when we were young

**07 - ****Kelly Clarkson**** - **where is your heart

**08 - ****Bon Jovi**** – **always

**09 - ****Robert Downey Jr**** & ****Vonda Shepard**** - **chances are

**10 - ****John Mayer**** - **your body is a wonderland

**11 - ****Avril Lavigne**** - **my happy ending

**12 - ****Jewel**** - **standing still

**13 - ****Edwin McCain**** - **i'll be

**14 - ****Lifehouse**** - **somewhere in between

**15 - ****Jefferson Starship**** - **we built this city

**16 - ****The Rembramts**** - **i'll be there

**17 - ****Kid Rock**** - **all summer long

**18 - ****Kelly Clarkson**** - **behind these hazel eyes

**19 - ****Whitney Houston**** - **didn´t we almost have it all

**20 - ****Susanna Hoffs**** - **now and then

Two songs that didn't make the cut, but more than worth a listen:

**EVA CASSIDY – **time after time

**SIXPENCE NONE THE RICHER – **don't dream its over

.

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	2. Teaser

**ACT 1, SCENE 1**

**INT. WILLIAM MCKINLEY HIGH, GYMNASIUM**

THE SCHOOL GYM HAS BEEN CLEARED AND SET UP FOR A DANCE. A STAGE HAS BEEN ERECTED ALONG THE LEFT HAND WALL, WITH ROUND TABLES DOTTED AROUND A DANCEFLOOR IN THE CENTRE. IT'S ALL BALLOONS AND STREAMERS AND BAD PUNCH - LIKE EVERY OTHER HIGH SCHOOL DANCE. ABOVE THE STAGE A HUGE BANNER READS:

MCKINLEY HIGH GLEE CLUB - NATIONAL SHOW CHOIR CHAMPIONS 2012!

ON STAGE, THE GLEE CLUB PERFORMS. BUT NOT THE GLEE CLUB WE KNOW. THESE KIDS ARE DIFFERENT. THEY ALL LOOK LIKE PUNK ROCKERS, FOR ONE. OUR GLEE CLUB ARE IN THE AUDIENCE, DANCING TO:

**GLEE CLUB**

_Four years, you think for sure,_

_That's all you've got to endure._

_All the total dicks, all the stuck-__up chicks,_

_So superficial, so immature._

PUCK IS DANCING WITH BECKY, DOING SOME TWISTING MOVE THAT HAS HER ROARING WITH LAUGHTER, AND UNABLE TO DANCE HERSELF.

ARTIE IS HOLDING COURT WITH SAM, RORY AND MIKE IN BACK, TELLING SOME STORY THAT HAS THEM COMPLETELY IGNORING THE NEW GLEE.

**GLEE CLUB (cont'd)**

_Then when you graduate,_

_You take a look around and you say,_

"_Hey wait!"_

_This is the same as where I just_

_came from, I thought it was over,_

_Aw, that's just great!_

SUE, EMMA AND WILL STAND SIDE BY SIDE NEAR THE PUNCH BOWL, WATCHING THE FRIVOLITY UNFOLD ON THE DANCEFLOOR. FOND SMILES ON THEIR FACES - ALL THREE.

SANTANA, BRITTANY AND SUGAR ARE DOING SOME DESTINY'S CHILD-STYLE DANCE MOVES THAT HAVE DRAWN A CROWD AROUND THEM.

**GLE****E ****CLU****B ****(cont'****d****) **

_Th__e __whol__e __dam__n __worl__d __i__s __jus__t __as obsessed,_

_With who's the best dressed and who's having sex._

_Who's got the money? Who gets the honeys?_

_Who's kinda cute? And who's just a mess?_

TINA AND MERCEDES HAVE PAIRED OFF WITH KURT AND BLAINE, EACH TRYING TO OUTDO EACH OTHER IN AN IMPROMPTU 'DANCE-LIKE-A-SPAZ' CONTEST.

**GLEE CLUB (cont'd)**

_And you still don't have the right __look,_

_And you don't have the right __friends._

_Nothing changes but the faces, the __names and the trends..._

_High school never ends!_

_Oh-oh-oh-oh-oh-oh... Oh-oh-oh-oh-_

_oh... Oh-oh-oh-oh-oh..._

THE REST OF THE CROWD IS MADE UP OF STUDENTS, LOOKING FRESH AND YOUNG AND COMPLETELY UNAWARE OF THE TRUCKS THAT ARE GONNA HIT THEM OVER THE NEXT FEW YEARS.

THE CLUB TRAIL THE SONG OFF WHEN FINN STEPS ONTO THE STAGE. HE GOES UP TO THE MICROPHONE, HIS EYES ON RACHEL, STANDING BY HERSELF AGAINST THE WALL, LOST IN THOUGHT.

**FINN**

Hi, everybody. Sorry to interrupt, I'll let the Glee Club get back to rocking in just a minute. Aren't they great?

HE LEADS A POLITE ROUND OF APPLAUSE.

**FINN (cont'd)**

I just wanted to take this chance while I have it to, er... to say something that's kinda... been on my mind lately.

THE STUDENTS DON'T SEEM ALL THAT INTERESTED, BUT FINN'S GLEE CLUB, AS WELL AS SUE, EMMA AND WILL, ALL START INCHING CLOSER TO THE STAGE, CURIOUS.

**FINN (cont'd)**

I don't know if this is the time, or the place, but I don't think I'm gonna get a better chance, so I'm just gonna come out and say it.

(BEAT)

Rachel... seven years ago, on another stage, I made a promise to love you forever. Hard as I fought it... much as I hated myself for it sometimes... I kept that promise. It's as true today as it was then, so... so I'm going to ask you the same question...

HE REACHES INTO THE INNER POCKET OF HIS JACKET AND PULLS OUT A RING. THE OVERHEAD LIGHTS CATCH THE DIAMOND SETTING AND IT SPARKLES. THE CROWD GOES:

**CROWD**

Oooh...

**FINN**

This is the same ring. I'm asking you to wear it again.

(BEAT)

Rachel Berry... will you marry me?

THE ENTIRE CROWD, LIKE SOMETHING OUT OF _CHILDRE__N__O__F__TH__E__COR__N_, ALL TURN TO RACHEL AT ONCE TO GET HER REACTION.

SHE LOOKS SHOCKED. HER EYES DART BETWEEN AN EARNEST, ALMOST FEARFUL FINN, AND A STUNNED, PAINED QUINN. RACHEL OPENS HER MOUTH TO SPEAK, AND...

**NARRATOR**

Wait! Hold up! This isn't right! To figure out how we got here, we need to recap. So, here's what you missed on Glee...

CUE MONTAGE DESCRIBING WHAT THE NARRATOR SAYS.

**NARRATO****R ****(cont'****d****)**

Finn and Rachel were gonna get married, but then at her bachelorette party Rachel and Quinn sang _Somethin__g __Stupi__d _before they did something stupid...

SHOT OF THE KISS, THEN:

**SUGAR**

_Uh... I guess you guys win._

**NARRATOR**

Or maybe it wasn't so stupid. Because once Finn found out and dumped Rachel...

FINN SCREAMING IN HER FACE:

**FINN**

_You fell in love with someone else! __You did this!_

**NARRATOR**

...she started dating Quinn, and they looked really great together.

THE KISS BY THE LAKESIDE.

**NARRATOR (cont'd)**

It was all going swell, except Finn quit the Glee Club coz he couldn't be around them, and the group had to prepare for Nationals by themselves. Then this happened...

THE SPRAY-PAINTED LOCKER, WITH THE WORDS: 'FABERRY! FAGS! FREAKS!', AND:

**KURT**

_Well, at least we know alliteration __isn't dead._

**BLAINE**

_Yeah__, __that'__s _so _portmanteau!_

**NARRATOR**

Like what does the even mean? So Rachel was freaked out and ended things with Quinn - until Finn intervened, singing her a song about how she had to get up off the floor or something. So Rachel fixed it with Quinn...

**RACHEL**

_This is it. It's over. The music's __stopped. So..._

(BEAT)

_Do you want to pretend it never __did? _

**NARRATOR**

And that was supposed to be happily ever after, right? Right?

(BEAT)

Well, I guess not. Not on:

**TITLE CARD: GLEE!**

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	3. This Cold Reflection

**ACT 1, SCENE 2**

**INT. WILLIAM MCKINLEY HIGH, PRINCIPAL'S OFFICE**

FINN KNOCKS ON THE DOOR WITH THE PLAQUE: 'SCHOOL PRINCIPAL (JOINT)' ON IT. HE OPENS THE DOOR AND STICKS HIS HEAD IN.

**FINN**

Hey, Mr. Schu?

WILL LOOKS UP FROM HIS DESK, SHAKES HIS HEAD, WRY SMILE ON HIS FACE.

**WILL**

Finn, how long have we been working together?

**FINN**

About four years, I guess.

**WILL**

And in those four years, how many times have I asked you to call me Will?

**FINN**

I dunno. I can't count that high.

**WILL**

(CHUCKLES)

Not the greatest thing for a teacher to admit, but...

(GESTURES)

Come inside. Have a seat.

FINN ENTERS, TAKES THE VISITOR'S CHAIR.

**WILL (cont'd)**

You all set for the weekend?

**FINN**

Yeah. Jacob's letting us use his motel, so everyone's got a place to stay. I helped him clean the place up.

(A LITTLE AGHAST)

We found a crocodile in the pool.

**WILL**

A crocodile in Ohio?

**FINN**

I know! It's crazy!

**WILL**

Why do you need a motel anyway?

**FINN**

Well, most everybody sold up when they moved away. Rachel's parents followed her to New York. The Fabrays... they're in Colorado now, I think. The Abrahams family's living in South Africa.

**WILL**

Well, we're all set here. When's everyone arriving?

**FINN**

Their schedules keep chopping and changing. I'm not even trying to keep up anymore. But they should start coming in from tomorrow.

**WILL**

It's gonna be great seeing everybody again. This was a great idea, Finn.

**FINN**

Thanks.

**WILL**

I mean it. You guys... that first Glee Club... it was something special. I don't think you understand how much you changed my life.

**FINN**

I don't think you understand how much you changed ours.

(SMALL SHRUG)

It's why I became a teacher. Why I begged you to let me take over Glee.

**WILL**

Well, you're doing a great job. Making it to Nationals your first full year?

**FINN**

The kids are really talented.

**WILL**

Yes, they are.

THEY'RE BOTH SMILING PROUDLY. BUT THEN, WILL'S SMILE FADES.

**WILL (cont'd)**

Are you nervous?

**FINN**

We got nothing to worry about at Nationals. We're gonna kick ass.

**WILL**

Not about Nationals.

(BEAT)

About...

**FINN**

Seeing Rachel and Quinn again?

(WHEN WILL NODS)

I dunno. A little.

**WILL**

That's normal. You guys were... well, let's just say those first three years of Glee didn't lack for drama.

**FINN**

(CHUCKLES)

But I'll be alright. I mean, it's been seven years.

**WILL**

Yeah. You're older. Wiser.

**FINN**

Older, maybe.

HE STANDS, HEADS FOR THE DOOR, WHERE HE TURNS BACK.

**FINN (cont'd)**

Mr. Schu-

(WHEN WILL GIVES HIM A LOOK)

Sorry... _Will_...

(BEAT)

Thanks. For, like... everything.

**WILL**

You're welcome Finn. Let me know when they start arriving.

**FINN**

I will.

FINN EXITS. WILL WATCHES HIM GO, A FOND SMILE ON HIS FACE.

CUT TO:

**.**

**.**

**ACT 1, SCENE 3**

**INT. SMOKEY BLUES BAR**

THE PLACE IS JAM-PACKED. BLUE COLLAR TYPES SWIGGING DOWN LONG- NECKED BEERS AND EATING SALTED PEANUTS. EVERY SINGLE ONE OF THEM FOCUSED ON THE STAGE, WHERE PUCK IS PERCHED ON A STOOL, DRESSED IN A SLEEVELESS BLACK SHIRT, HIS GUITAR IN HIS HAND.

**PUCK (V.O.)**

Here's what I've learned about being a rock star - you don't gotta sell out stadiums to feel like one.

(BEAT)

I mean, look at this place. It looks like every other dive off any highway in America, right?

(BEAT)

Wrong.

CUT TO:

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**ACT 1, SCENE 4**

**INT. SMOKEY BLUES BAR, DRESSING ROOM**

PUCK IS CHECKING HIMSELF OUT IN THE HUGE MIRROR THAT DOMINATES A GRAFFITIED WALL. AFTER SATISFYING HIMSELF THAT HE'S AS GOOD- LOOKING AS EVER, HE TAKES OUT A BLACK MAGIC MARKER, AND MOVES TO THE WALL, WHICH WE NOW SEE IS SCRATCHED WITH NAME AFTER NAME AFTER NAME...

**PUCK (V.O.)**

This is Cleveland, Ohio, baby! The home of the Rock & Roll Hall of Fame! The greats played here!

(READS SOME NAMES)

Hendrix, Jagger, Bieber - although I heard he tried to order a beer and the bartender tossed him out on his ass. His bodyguards too.

(BEAT)

And now, my name goes up with the legends who rocked this stage...

HE SCRATCHES 'NOAH PUCKERMAN - THE PUCKSTER' ONTO THE WALL UNDER THE NAME 'KURT COBAIN - THE COBSTER'.

A GUITAR STARTS PLAYING, AND WE:

CUT TO:

.

.

**ACT 1, SCENE 5**

**INT. SMOKEY BLUES BAR**

PUCK'S STARTED PLAYING. A LIVELY LITTLE RIFF, WITH SOME SOUL.

**PUCK**

_This is... the story of a girl._

_Who cried a river and drowned the __whole world._

_And while she looks so sad in __photographs, _

_I absolutely love __her..._

_When she smiles._

UPFRONT, PUCK HAS SOME GROUPIES. MOSTLY MILFs, MAKING EYES AT HIM, AND UNBUTTONING THEIR BRAS IN READINESS.

**PUCK (cont'd)**

_How many days in a year?_

_She woke up with hope, but she only __found tears._

_And I can be so insincere._

_Making a promise is never for real._

_As long as she stands there __waiting._

_Wearing the holes in the soles of __her shoes._

_How many days disappear?_

_When you look in the mirror, so how __do you choose?_

PUCK SLIDES OFF THE STOOL - MOVING LIKE A CHEETAH. THE WOMEN IN THE FRONT START SWOONING.

**PUCK (cont'd)**

_Your clothes never wear as well the __next day._

_And your hair never falls in quite __the same way._

_You never seem to run out of things __to say..._

HE'S INTO THE AUDIENCE NOW. WOMEN CLUTCH AT HIM. GUYS MAKE WAY WITH GRUDGING RESPECT. HE'S GOT HIS EYE FOCUSED ON THE BACK OF THE ROOM, WHERE A WOMAN SITS AT THE BAR. WE SEE ONLY HER LEGS, LONG AND SHAPELY, FLAUNTED BY A FLOWING SUNDRESS...

**PUCK (cont'd)**

_This is... the story of a girl._

_Who cried a river and drowned the __whole world._

_And while she looks so sad in __photographs, _

_I absolutely love __her..._

THE WOMAN AT THE BAR STANDS UP AS PUCK REACHES HER. WE SEE HER FROM BEHIND, NOTICE THE ADORING SMILE HE GIVES HER. PUCK SUDDENLY STOPS SINGING, STOPS PLAYING - TO THE BOOS OF THE

CROWD. HE THRUSTS HIS GUITAR AT A SURPRISED DRINKER AT THE BAR - NEVER TAKING HIS EYES OFF THE WOMAN.

**PUCK (cont'd)**

(ACAPELLA)

_When she smiles..._

HE PULLS HER CLOSE AND KISSES HER. THE GUYS IN THE AUDIENCE LAUGH AND CHEER. THE WOMEN LOOK MURDEROUS. PUCK DOESN'T CARE - THIS KISS IS SO HOT IT'S THREATENING TO SET THE PLACE ON FIRE.

**PUC****K ****(V.O.****) ****  
**

Nah... you don't need record deals, and managers, and videos on MTV to be a rock star...

(BEAT)

All you need is a girl like her smilin' at you. That'll do it everytime.

HE BREAKS THE KISS.

**PUCK (cont'd)**

Ready to go?

**QUINN**

Let's get outta here.

CUT TO:

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	4. Hello, Ohio

**ACT 1, SCENE 6**

**EXT. RICKETT'S AIRFIELD**

FINN AND BECKY ANDERSON (WEARING A SUE SYLVESTER STYLE RED TRACKSUIT) ARE STANDING ALONE ON THE DESERTED AIRSTRIP. THEY'RE HOLDING UP A LARGE SIGN, SAYING: 'WELCOME BACK!'

**BECKY**

Finn, what the hell are we doing here?

**FINN**

He said to meet him at the airport.

**BECKY**

The airport's in Bluffington, dumbass!

**FINN**

Becky, you know what Mr. Schu said about calling me a dumbass.

**BECKY**

(SIGHS, MIMICS)

Finn bruises like an emotional peach and not to do it.

**FINN**

And he said _thi__s _airport. I wrote it down on my hand. See?

(SHOWS HER HIS HAND)

I just-

HE CAN'T CONTINUE, BECAUSE THE AIR'S SUDDENLY FILLED WITH THE **WHUMP-WHUMP-WHUM****P**OF ROTOR BLADES. THEIR HAIR AND CLOTHES GET WHIPPED ABOUT AS THEY TURN THEIR FACES UP TO THE SKY AND SEE... A HELICOPTER COMING IN TO LAND.

FINN AND BECKY BACK THE HELL OFF.

**BECKY**

Is that him?

**FINN**

Uh... I guess so.

THE FORCE OF THE BLADES RIPS THE BANNER IN TWO, AND FINN'S LEFT HOLDING A SMALL PIECE SAYING 'WEL' AND BECKY A PIECE SAYING 'COME BACK'.

THE ENGINE IS KILLED AND THE BLADES SLOW DOWN AS SOMEONE JUMPS FROM THE PASSENGER SEAT IN THE COCKPIT. IT'S A MAN IN A BUTLER'S UNIFORM.

HE OPENS THE CABIN BAY DOORS AND LOWERS A SET OF STAIRS. SOON, A TALL FIGURE APPEARS AT THE TOP OF THE STAIRS AND WAVES.

**MIKE**

Hello, Ohio!

**BECKY**

Tell that idiot not to wave from a helicopter! He's gonna get his hand chopped off!

MIKE BOUNDS DOWN THE STAIRS, AND SOON HE AND FINN ARE CAUGHT IN A DANCING EMBRACE.

**FINN**

Hey! Welcome back!

**MIKE**

Good to see you, man!

ANOTHER FIGURE APPEARS. HE DOESN'T WAVE, JUST TROTS JAUNTILY DOWN THE STAIRS.

**RORY**

Finn! Becky! How are ya?

RORY HUGS FINN AND BECKY.

**FINN**

Where's-?

**MIKE**

Wait, you gotta check this out!

HE POINTS TO THE STAIRS. THERE'S A WHIRRING NOISE, AND THE STAIRS SUDDENLY SLAM FLAT, BECOMING A RAMP. A PAIR OF WHEELS APPEAR, AND THEY'RE GUIDED CAREFULLY ONTO TWO STRUTS, THAT CLAMP TO THE WHEELS LIKE MAGNETS. THEN THE WHOLE THING LOWERS TO THE GROUND IN A STATELY FASHION, WHILE ARTIE GRINS AT HIS FRIENDS.

**ARTIE**

What up, dog?

**FINN**

(MUTTERS)

Oh, God, I'd hoped he'd stopped talking like Mark E. Mark by now...

**MIKE**

Not a chance.

AS HE REACHES THE GROUND, ARTIE HITS A BUTTON ON HIS WHEELCHAIR'S FANCY CONTROL PANEL AND THE MAGNETS DISENGAGE. HE USES A SMALL JOYSTICK TO CRUISE ACROSS THE TARMAC TOWARDS THEM. BECKY RUSHES FORWARD AND GIVES HIM A KISS.

**BECKY**

I missed you, Artie.

**ARTIE**

I missed you too, Becky.

(TAKING IN HER OUTFIT)

Wow, you really have inherited Coach Sylvester's mantle, haven't you?

**BECKY**

The Cheerios need an ass-kicker in charge or they start slacking off.

(BEAT)

Cheerleaders!

**ARTIE**

Yeah, I know. I hate 'em too.

**FINN**

Artie, is this your helicopter?

**ARTIE**

_On__e _of my helicopters.

FINN LOOKS LIKE ARTIE JUST TOLD HIM HE WALKS ON WATER.

**FINN**

(CHOKED WHISPER)

You have more than one helicopter?

**ARTIE**

First resolution I made when I started getting rich - travel everywhere in style! Makes up for being in a wheelchair my whole life.

**F****INN**

Well, uh, I brought the school van to accommodate the chair. But I could-

**ARTIE**

I don't care, Finn.

(BRIGHT SMILE)

The Glee Club's getting back together. You could piggyback me everywhere if you want.

**FINN**

(BEAMS, LOVES THE SOUND OF THAT)

Really?

**ARTIE**

No.

**RORY**

Come on, let's get going.

**MIKE**

Artie, our luggage?

**ARTIE**

Raul will see everything safely to the motel.

**FINN**

Well, come on then!

THEY SET OFF ACROSS THE TARMAC. BECKY'S ALONGSIDE ARTIE, HOLDING HIS HAND. FINN'S BETWEEN MIKE AND RORY, THROWS HIS ARMS AROUND THEIR SHOULDERS.

**FINN (cont'd)**

God, it's good to see you guys!

THEY HEAD OFF.

**COMMERCIAL BREAK:**

**.**

**.**

**ACT 2, SCENE 7**

**EXT. SHALOM MOTEL**

THE SCHOOL VAN, WITH THE NAME STENCILLED ON THE SIDE, PULLS INTO THE PARKING LOT OF A LARGE, RAMBLING TWO-STORIED MOTEL. IT LOOKS VERY RUSTIC, WITH SPANISH-STYLE ARCHITECTURE, MAKING IT LOOK

LIKE SOMETHING OUT OF AN OLD WESTERN. IT LOOKS FRESHLY PAINTED. IN FACT, THERE ARE TWO PAINTERS FINISHING OFF ONE WALL.

FINN AND BECKY GET OUT, WHILE MIKE AND RORY HELP ARTIE DOWN FROM THE BACK.

**MIKE**

Place doesn't look half bad.

**FINN**

Shoulda seen it a week ago.

**BECKY**

It was a dump!

**FINN**

I've got the keys to your rooms. Follow me.

FINN LEADS THEM ON A BRICK PATH ROUND THE SIDE OF THE MOTEL. IT'S BUILT LIKE AN UPSIDE-DOWN HORSESHOE, WITH THREE SIDES FACING A CENTRAL POOL AREA.

THEY'VE JUST PASSED THE SECOND DOOR WHEN THE WHOLE GROUP STOPS.

**RORY**

Do you hear that?

**FINN**

It sounds like it's coming from...

HE LEADS THEM TO THE FIFTH, AND LAST DOOR ALONG THE LEFT-HAND 'ARM' OF THE HORSESHOE, AND SURE ENOUGH, THEY CAN HEAR NOISES FROM INSIDE. IT SOUNDS LIKE...

FINN OPENS THE DOOR, AND:

.

.

**ACT 2, SCENE 8**

**INT. SHALOM MOTEL SAMCEDES' ROOM**

**MERCEDES**

_I'll reach out my hand to you._

_I have faith in all you do._

_Just call my name,_

_And I'll be there..._

FINN LEADS THE GROUP INTO THE LARGE MOTEL ROOM. THERE'S A KING- SIZE BED, A LOUNGE AREA WITH PLUSH SOFAS AND A KITCHENETTE. CURRENTLY, BRITTANY AND SANTANA ARE DRAPED ON THE COUCHES, WATCHING MERCEDES AND SAM, SITTING CROSS-LEGGED ON THE BED, SERENADING THEM. THEY ALL WAVE TO EACH OTHER AS THEY COME IN, BUT NO ONE INTERRUPTS THE SONG AS SAM CONTINUES:

**SAM**

_I'll be there to comfort you._

_Build my world of dreams around __you._

_I'm so glad that I found you._

_I'll be there with a will so __strong._

_I'll be your strength._

_You know I'll keep holding on._

ARTIE LEADS SOME RAUCOUS CHEERING. MERCEDES GRINS, AS SHE CARRIES ON:

**MERCEDES**

_Let me fill your heart with joy and __laughter._

_Togetherness... well, its all I'm __after._

_Just call my name,_

_And I'll be there._

_I'll be there to protect you..._

**SAM**

_Yeah, baby, yeah..._

**MERCEDES**

_With an unselfish love that __respects you._

_Just call my name,_

_And I'll be there._

**SAM**

_I'll be there to comfort you._

_Build my world of dreams around __you._

_You know I'm so glad that I found __you._

_I'll be there with a love so strong._

_I'll be your strength._

_You know I'll keep holding on._

EVERYONE WHOOPS AT THE UNEXPECTED HIGH NOTE.

**MERCEDES**

_If you should ever find someone __new._

_I know she better be good to you._

_Coz if she doesn't... then I'll be __there._

**SAM**

(SHOUTS)

Everybody!

THE GROUP, GRINNING LIKE IDIOTS, JOIN IN:

**GROUP**

_Don't you know, baby, yeah yeah..._

_I'll be there! I'll be there!_

_Just call my name,_

_And I'll be there..._

_I'll be there! I'll be there!_

_Just call my name,_

_And I'll be there..._

AFTER THE BIG FINISH, THERE'S MUCH LAUGHTER AND HUGGING AS THE GROUP GET REACQUAINTED.

**FINN**

When did you guys get in? You shoulda called me. I woulda picked you up.

**SAM**

Finn, we can get from place to place by ourselves, dude.

**FINN**

I know. I just... I wanted to be the first to see everybody.

**SANTANA**

Oh, my God! Have you gotten sweeter?

(TO BRITTANY)

Kill me now.

**BRITTANY**

No. I'm done with that after we tried to make that snuff film.

**MERCEDES**

Say what?

**ARTIE**

It's good to see you guys.

**MERCEDES**

You too.

**SANTANA**

Surprised you could make time for us, Mr. Big Shot.

**ARTIE**

You know, I'm thinking of legally changing my name to Mr. Big Shot.

**SAM**

That'd be too awesome! _Sta__r __Tre__k __4_, directed by Mr. Big Shot!

**ARTIE**

You're not pissed at me? I know how big a fan you are, and _Sta__r __Trek __3_...

**MIKE**

Kinda sucked.

**SAM**

Oh, I'm totally pissed. You and me are gonna have words.

**BRITTANY**

(TO FINN)

So, what are we doing?

**FINN**

Uh, well, not everybody's here yet. So you can just take some time. Settle in. There's a dinner tonight.

**ROR****Y**

Where?

**BECKY**

Breadstix.

**MERCEDES**

Is that place still open?

**FINN**

Of course. Nothing ever changes in Lima.

(BEAT)

I'm gonna go pick up Sugar and Tina. They caught the same flight from New York, and the shuttle's getting here in about 25 minutes.

**SANTANA**

New York? So, isn't Rachel...?

**FINN**

I don't know. I haven't spoken to Rachel.

**BECKY**

Finn! You told Mr. Schu you were handling it!

**FINN**

I am. I sent her the email. I left messages. She knows... what's going on.

(BEAT)

Okay?

**SANTANA**

Okay.

**FINN**

Alright, I'll see you guys at dinner.

FINN HEADS OUT.

**SANTANA**

He's right. Nothing ever changes.

**CUT TO**:

.

.

**ACT 2, SCENE 9**

**EXT. SHALOM MOTEL**

WE FOLLOW FINN AS HE LEAVES THE ROOM, AND HEADS BACK TO HIS VAN. MEANWHILE:

**FINN (V.O.)**

I'm gonna be in for a whole weekend of this, I know it! _"Finn__, __ar__e y__ou __okay with seeing Rachel?" "Finn, is __it tough being around Quinn?"_

(BEAT)

I thought I put the issue to bed seven years ago. I was the one who told Rachel not to let Quinn get away.

(BEAT)

Well, I didn't exactly _tel __l _her, I sang it to her. It's a Glee thing. But still, I proved I was okay with it then, right? Why should it be a problem now?

HE REACHES THE VAN AND CLIMBS IN, SLUMPING BACK AGAINST THE SEAT. HE CATCHES HIS OWN EYE IN THE REARVIEW MIRROR, STARING FOR A GOOD LONG WHILE.

**FINN (V.O.) (cont'd)**

I'm fine. I'm over it.

EVENTUALLY, HIS EYES NARROW IN ANNOYANCE, AND HE RUNS A HAND OVER HIS HEAD.

**FINN (cont'd)**

(OUT LOUD)

Get it together, Finn.

HE REACHES UP AND PULLS DOWN THE SUN VISOR. SOMETHING TUMBLES OUT AND FALLS INTO HIS LAP. HE LOOKS DOWN. IT'S A PHOTOGRAPH. A GROUP SHOT TAKEN IN THE CHOIR ROOM. THE WHOLE CLUB IS THERE, AND RIGHT IN FRONT, IS FINN HIMSELF. WITH RACHEL AND QUINN ON EITHER SIDE - BOTH WITH THEIR ARMS AROUND HIM, BOTH PLANTING EXAGGERATED KISSES ON HIS CHEEKS. AS FINN'S EYES MIST UP AS HE STARES AT THE PICTURE, WE HEAR:

**RACHEL (V.O.)**

_Here's a photo I've been looking __for._

_It's a picture of the boy next __door._

_And I loved him more than words __could say._

_Never knew it til he moved away._

_Faded pictures in my scrapbook._

_Jus__t __though__t __I'__d __tak__e __on__e __more look._

_And recall when we were all... in __the neighbourhood._

TREMBLING A BIT, FINN PICKS UP THE PHOTO, AND WE:

**DISSOLVE TO:**

.

.

**ACT 2, SCENE 10**

**INT. RACHEL'S NEW YORK APARTMENT**

TIGHT ON THE VERY SAME PICTURE. WE PULL BACK, SLOWLY, REVEALING THAT IT'S JAMMED INTO THE FRAME OF A LARGE DECORATIVE MIRROR. THE SHOWBIZ KIND WITH ALL THE LIGHTBULBS. RACHEL BERRY IS SITTING ON A STOOL, BUT SHE'S NOT LOOKING AT HER REFLECTION. SHE'S LOOKING AT THE PICTURE, AS SHE KEEPS SINGING:

**RACHEL**

_And all those friends, where did __they go?_

_Oh, I don't know._

_And all those friends, we used to __know,_

_Oh... in the neighbourhood..._

ALSO TREMBLING, RACHEL REACHES UP AND PLUCKS THE PHOTO OUT. SHE BITES HER LIP, STARING AT IT SO HARD IT'S LIKE SHE EXPECTS THE FIGURES CAUGHT FOREVER IN THAT MOMENT IN TIME TO MOVE - MAYBE DRIFT OUT OF FRAME THE WAY THEY DRIFTED OUT OF HER LIFE.

SUDDENLY, SHE'S CRYING. AND IN A FIT OF PIQUE, SHE RIPS THE PHOTO UP, AND DUMPS THE SHARDS ON A PIECE OF PAPER LYING ON THE DRESSER.

SHE STORMS OFF, BUT WE STAY ON THE PHOTO FRAGMENTS, AND MAKE OUT SOME OF THE WORDS PRINTED ON THE PAGE.

"_Hey Rachel,_

_...everybody's going to be there..._

_...thought it would be fun to see you..._

_...hope you're doing okay..._

_...please be there..._

_...please..._

_...Finn."_

AND ANOTHER SONG BLEEDS IN:

**PUCK (V.O.)**

_Look at this photograph._

_Everytime I do it makes me laugh._

_How did our eyes get so red?_

_And what the hell is on Artie's __head?_

**DISSOLVE TO:**

.

.

**ACT 2, SCENE 11**

**EXT. INTERSTATE 75**

PUCK IS AT THE WHEEL OF A MONSTER PONTIAC GTO. HE'S CRUISING DOWN THE HIGHWAY. BESIDE HIM, QUINN SITS WITH HER LEGS CURLED UP ON THE SEAT UNDERNEATH HER, STARING FORLORNLY OUT THE WINDOW.

**PUCK**

_This is where I grew up._

_I think the present owner fixed it __up._

_We never knew we ever went without._

_The second floor was hard for __sneaking out._

PUCK TURNS TO LOOK AT HER. IF SHE NOTICES, SHE GIVES NO INDICATION. PUCK REACHES ACROSS AND TAKES HER HAND.

**PUCK (cont'd)**

_And this is where I went to school._

_Most of the time had better things __to do._

_Criminal record says I broke in __twice._

_I must have done it half a dozen __times._

QUINN SQUEEZES HIS HAND AND SHUTS HER EYES, ALMOST LIKE SHE'S PRAYING.

Hey...

**PUCK (cont'd)**

(WHEN SHE LOOKS AT HIM)

You alright?

**QUINN**

Truth?

**PUCK**

Truth.

**QUINN**

Not really.

**PUCK**

It's gonna be okay.

(WHEN SHE JUST GIVES A SAD LITTLE LAUGH)

I promise.

**QUINN**

I just... I never thought I'd ever come back here.

THEY ROCKET PAST A SIGN SAYING "WELCOME TO LIMA, OHIO. TITANS RULE, Y'ALL!"

**PUCK**

We made it out once. We'll do it again.

**QUINN**

I hope so...

PUCK HAS NOTHING TO SAY TO THAT, EXCEPT:

**PUCK**

_I wonder if it's too late._

_Should I go back and try to __graduate._

_Life's better now than it was back __then._

_If I was them I wouldn't let me in._

_Oh, oh, oh... Oh, God, I..._

AND WE SEE THAT IN QUINN'S FREE HAND, SHE'S HOLDING THE SELF- SAME PHOTO. SHE BALANCES IT CAREFULLY ON HER LEG, AND USES THE TIP OF HER FINGER TO SLOWLY CARESS THE SURFACE. CARESSING RACHEL'S FACE, AS SHE TAKES OVER THE CHORUS:

**QUINN**

_Every memory of looking out the __back door,_

_I had the photo, I was spread out __on my bedroom floor._

_It's hard to say it, time to say __it._

_Goodbye... Goodbye..._

AND SHE'S CRYING TOO.

**QUINN (cont'd)**

_Every memory of walking out the __front door,_

_I found the photo of the friends __that I was looking for._

_It's hard to say it, time to say __it._

_Goodbye... Goodbye..._

PUCK SEES WHAT SHE'S DOING, BUT QUICKLY AVERTS HIS EYES. HIS MOUTH PULLS INTO A THIN LINE, AND HE JUST KEEPS DRIVING.

**CUT TO:**

.

.

**ACT 2, SCENE 12**

**INT. BREADSTIX**

IT'S OBVIOUS THE VENUE'S BEEN SET ASIDE FOR A GLEE CLUB FUNCTION. NOT ONLY IS THE ROOM NOW DOMINATED BY ONE LONG CENTRAL TABLE, AROUND WHICH FINN, ARTIE, SAM, MIKE, RORY, BECKY, MERCEDES, BRITTANY, SANTANA AND THE NEWLY-ARRIVED SUGAR, TINA AND BLAINE MAKE MERRY, BUT THERE'S A PSEUDO STAGE SET UP AGAINST ONE WALL. THE MOOD IS LIGHT AND JOLLY; LIKE A FAMILY THANKSGIVING DINNER, PASSING THE MASHED POTATOES AND EGGPLANT SALAD.

**BLAINE**

No, no, no... I beg to differ. What about the time Sam here-

**SAM**

Oh, are we starting now?

**BLAINE**

-decided to pretend he was a merman, in order to get Figgins to release the goldfish Mrs Crink was using in her Anatomy class?

**MIKE**

I remember that! Didn't he start calling you, "Your Watery Majesty" after that?

THEY LAUGH.

**SAM**

(SIGH)

Yeah. He carried a water gun to squirt me with his supplication.

**SANTANA**

That just sounds dirty.

**MERCEDES**

How did the guy manage to run the school for so long? He thought Tina was a vampire for three years.

**BRITTANY**

Wait, Tina's not a vampire?

**TINA**

Sorry, Brittany.

**FINN**

Well, it's better now. Mr. Schu and Coach Sylvester-

**RORY**

Wait. How does that work anyway?

**FINN**

Well, it all started with the underground Cheerios cage fighting ring, and-

HE BREAKS OFF WHEN THE LIGHTS SUDDENLY GO OUT.

**ARTIE**

(FROM THE DARKNESS)

Is there a storm?

**SUGAR**

No. The weather's fine.

**ARTIE**

Then, what-?

A SINGLE SPOTLIGHT ILLUMINATES THE STAGE. IT'S BRIGHT. VERY BRIGHT. ALMOST TOO BRIGHT.

**BLAINE**

Finn, what's going on?

**FINN**

I had nothing to do with this.

**BLAINE**

Sure.

**FINN**

I swear, I-

A FIGURE, DRESSED IN A SMART SUIT, SASHAYS ONTO STAGE AND STANDS, BACK TO THE NOW CURIOUS AUDIENCE, WITH IT'S HEAD BOWED.

THE MUSIC STARTS.

A VIOLIN, COAXING A MOURNFUL TUNE OUT OF THE AIR. THE INTRO ALMOST LULLS THE WATCHING CROWD INTO A TRANCE AS THEY SWAY TO THE SWEET SOUND.

THE FIGURE TURNS AROUND, AND:

**SUGAR**

Kurt!

SHE APPLAUDS WILDLY, AND THE OTHERS SOON JOIN HER. BLAINE, THOUGH, LOOKS STUNNED. FINN JUST FROWNS. KURT APPROACHES THE MICROPHONE, AND STARTS TO SING.

**KURT**

_Last night... when we were young._

_Love was a star, a song unsung._

_Life was so new, so real, so __bright._

_Ages ago... last night._

THE SONG IS HAUNTINGLY BEAUTIFUL, AND EVERYONE'S SOON CAUGHT IN KURT'S SPELL. HE JUST STANDS THERE, BARELY MOVING, LETTING HIS VOICE DO THE MAGIC.

**KURT (cont'd)**

_Today the world is old._

_You flew away, and time grew cold._

(HE LOCKS EYES WITH BLAINE)

_Where is that star the seemed so __bright?_

_Ages ago... last night._

BLAINE BITES HIS LIP. FINN, SITTING NEXT TO HIM, SEEMS TO FEEL THE REEL OF TENSION RUNNING BETWEEN THEM, AND HIS EYES FLICK FROM ONE TO THE OTHER.

FINALLY, KURT BREAKS EYE CONTACT. HE TAKES THE MIC OFF THE STAND, AND MOVES TOWARD THE AUDIENCE.

**KURT (cont'd)**

_To think that spring had depended,_

_On merely this. _

_A look, a kiss._

_To think that something so __splendid,_

_Could slip away in one little __daybreak._

HE HOLDS UP ONE HAND, FINGERS FLARED OUT. AND ONE BY ONE HIS FRIENDS GIVE HIM A LITTLE FINGER-WIGGLE IN GREETING. KURT'S SMILE IS BROAD AND LOVING AND GENUINE.

**KURT (cont'd)**

_So now let's reminisce._

_And recollect the sighs and the __kisses._

_The arms that clung, when we were __young,_

_Last night._

HE GLIDES BACK ONTO THE STAGE. THE TRUE PERFORMER, LOOKING EACH AND EVERY ONE OF THEM IN THE EYE.

**KURT (cont'd)**

_So now let's reminisce._

_And recollect the sighs and the __kisses._

_The arms that clung, when we were __young,_

_Last night, oooooh, last night..._

_Oooooooh... last night._

STANDING OVATION. BECKY'S POUNDING THE TABLE, SHOUTING:

**BECKY**

More! More! More!

UNTIL A NEARBY WAITER ASKS HER TO STOP. KURT DOES HIS LITTLE HALF-BOW, HALF-CURTSY THING, THEN HOLDS UP THE MIC AGAIN.

**KURT**

Hello, McKinley!

**GLEE CLUB**

Kurt! Kurt! Kurt! Kurt!

KURT PUTS THE MIC BACK, AND STEPS OUT INTO THE CROWD TO RECEIVE HIS HUGS AND KISSES. AS THEY SWARM AROUND HIM, FINN TURNS TO BLAINE.

**FINN**

When last have you-?

**BLAINE**

Three years.

**FINN**

And you two haven't-?

**BLAINE**

Not a word.

**FINN**

Oh. Okay.

**BLAINE**

How is he, Finn? You're his brother, so...

**FINN**

I think you should ask him yourself.

(WHEN BLAINE HUFFS AND TURNS AWAY)

Hey, you two have too much history to just ignore. Go talk to him.

**BLAINE**

(SIGHS)

Okay. But I'm telling you the same thing when Rachel gets here.

FINN PULLS A FACE. BLAINE LAUGHS, AND MAKES HIS WAY TO KURT. WHEN KURT SEES HIM, THE OTHERS MELT BACK, AND THEY'RE LEFT STARING AT EACH OTHER. KURT'S STILL GRINNING, BUT IT WAVERS A BIT.

**BLAIN****E****(cont'****d) **

Always the one for the dramatic entrance, huh?

**KURT**

What can I say? It's a gift.

LONG, TENSE SILENCE. EVERYONE'S HOLDING THEIR BREATH. THEN:

**BLAINE**

Come here.

HE PULLS KURT INTO A FIERCE HUG. THE DAM BREAKS AND THEY BOTH START CRYING AS THEY CLING, DESPERATELY, TO EACH OTHER. THE REST OF THE CLUB SHARE KNOWING SMILES. THEN:

**PUCK (O.S.)**

Awesome! We putting on a show? I brought my axe!

THEY ALL TURN TO THE ENTRANCE, WHERE A GRINNING PUCK STANDS WITH A SOMEWHAT MORE DEMURE QUINN. THEY'RE HOLDING HANDS, AND SHE'S PRESSED IN TOWARDS HIM IN A WAY THAT LEAVES NO DOUBT AS TO THE NATURE OF THEIR RELATIONSHIP.

**MIKE**

Er... hey!

**RORY**

Hi!

**ARTIE**

How's it going?

**SANTANA**

Total sophomore year flashback!

**BRITTANY**

(MUTTERS)

Hold on. Isn't she a lesbian? Are we allowed to date boys now?

**KURT**

(SHAKES HIS HEAD)

Damn... stole my entrance.

**CUT TO:**

**.**

**.**


	5. Reunited

**ACT 2, SCENE 13**

**EXT. SHALOM MOTEL / QUICK'S ROOM**

IT'S LATE. ON THE FAR SIDE OF THE POOL, AWAY FROM THE MOTEL, THE GANG HAVE MADE A SMALL FIREPIT, WHERE THE REMNANTS OF A BONFIRE IS DYING OUT. FROM THE EMPTY CHAIRS, AND LEFTOVER SNACK PACKETS AND GLASSES, IT'S EVIDENT THE GROUP SPENT SOME TIME THERE, BUT NOW ONLY FINN, ARTIE, KURT AND BLAINE REMAIN.

**ARTIE**

Did you have any idea?

**FINN**

None.

**KURT**

Well, that's not surprising. They wouldn't tell you, of all people, now would they?

**FINN**

Why not?

**KURT**

Well, here's what you missed on Glee. Finn and Quinn were McKinley's power couple, but then she cheated on him with Puck and fell pregnant, and-

**FINN**

Okay, okay! Point taken!

**BLAINE**

So, I'm not the only one completely weirded out by it?

**ARTIE**

Not even close.

**BLAINE**

Good.

**ARTIE**

How come you two didn't last? We all kinda figured you would.

KURT AND BLAINE SHARE A LOOK, ALMOST EMBARRASSED.

**BLAINE**

Simplest reasons, really.

**KURT**

Work.

**BLAINE**

I got a chance to do a show in LA...

**KURT**

I was headlining at the Paramount in New York...

**FINN**

Long distance doesn't work, huh?

**BLAINE**

It really, really doesn't.

**ARTIE**

Well, there's no distance between you now.

MORE HESITATION AND EMBARRASSED SMILES.

**BLAINE**

Actually... its not that easy.

**KURT**

It can be.

HE STANDS UP, HOLDS HIS HAND OUT TO BLAINE.

**BLAINE**

Where are we going?

**KURT**

My room.

BLAINE DOESN'T EVEN HESITATE, TAKES KURT'S HAND.

**KURT (cont'd)**

See you in the morning, guys.

**FINN**

Night.

KURT AND BLAINE HEAD OFF. FINN AND ARTIE GRIN.

**FINN (cont'd)**

What about you? Anyone special on the west coast?

**ARTIE**

You kiddin'? I got baby mamas on top of baby mamas, yo!

(WHEN FINN JUST GIVES HIM A LOOK)

No. No one special.

**FINN**

Hey, on the plus side, you have two helicopters.

**ARTIE**

Three.

**FINN**

_Three?_

ARTIE GRINS. THEN HE SPOTS SOMETHING OVER FINN'S SHOULDER, AND SAYS:

**ARTIE**

Alright, Finn, I'm gonna leave you two alone.

**FINN**

Leave who alone?

ARTIE ROLLS PAST HIM, AND FINN TURNS. HE SPOTS QUINN WALKING TOWARD THEM PAST THE POOL. SHE'S WEARING A SWEATER, HUGGING HERSELF TIGHT FOR WARMTH. SHE OFFERS ARTIE A SMILE AS SHE PASSES HIM.

**QUINN**

Night, Artie.

**ARTIE**

See ya, Quinn.

QUINN COMES UP TO FINN. SHE STANDS IN FRONT OF HIM, AND NEITHER OF THEM SPEAK FOR A GOOD FEW SECONDS. THEN FINN PULLS FORWARD A CHAIR, AND SHE SITS. HE DIGS IN A BAG UNDER HIS SEAT, AND TAKES OUT TWO BEERS, ONE OF WHICH HE HANDS TO HER.

**QUINN**

Thanks.

THEY POP THE BEERS AND TAKE LONG SWIGS.

**FINN**

So...

**QUINN**

So...

MORE SILENCE. MORE SIPPING. EVENTUALLY:

**QUINN (cont'd)**

Go ahead. Ask.

**FINN**

None of my business.

**QUINN**

Like that's ever stopped you before.

**FINN**

It's stopping me now.

**QUINN**

You're judging me.

SHE WAITS FOR HIM TO MEET HER EYE, BUT HE REFUSES. JUST KEEPS DRINKING THE BEER, HIS EYES ON THE DANCING REFLECTION OF THE FIRELIGHT ON THE WATER.

**QUINN (cont'd)**

It just happened, Finn. I was covering the Ohio primary. I was in Cleveland. I actually just saw his name on a marquee outside a club and went in.

(BEAT)

For years, the only time we talked was in the comments under the photos of Beth that Shelby put up on Facebook.

(BEAT)

You know, back when Facebook was still around.

**FINN**

And, what? You just hit it off again?

**QUINN**

Yes. Is that so hard to believe?

**FINN**

Honestly? Yeah.

**QUINN**

Why? Puck is... surprisingly sweet. And charming. And there's something about him on stage now, that-

**FINN**

Come on, Quinn, who are you kidding? You're doing it again.

**QUINN**

Doing what?

**FINN**

Running. For years, it was always the same. Whenever you got scared, you would run. To me. To Puck. Even Sam.

**QUINN**

I am not scared anymore!

(STANDS, INDIGNANT)

I went out there and I did something with my life! I got shortlisted for a Pulitzer!

(BEAT)

What about you? Holed up in this tiny little nothing town! Coaching Glee! Are you kidding? Who's scared?

**FINN**

(CALM AS ANYTHING)

Are you done?

QUINN PULLS HERSELF TOGETHER, SIGHS, HAS THE DECENCY TO LOOK EMBARRASSED.

**QUINN**

Yes.

(SITS DOWN)

I'm sorry.

**FINN**

It's okay. You've been holding that in for a while, haven't you?

**QUINN**

I'm not angry with you. I'm really not. I'm just...

**FINN**

You miss her.

IT'S LIKE A WALL CRASHING DOWN ON THEM. QUINN'S SHOULDERS SAG. SHE PICKS AT THE LABEL ON THE BEER BOTTLE, FIGHTING THE ONSET OF TEARS.

**QUINN**

Where is she?

**FINN**

I don't know.

**QUINN**

Is she coming?

**FINN**

I don't know.

QUINN JUST NODS. NOW PULLS THE LABEL RIGHT OFF. FINN LEANS FORWARD, SO HIS ELBOWS ARE RESTING ON HIS KNEES. PUTTING THEM CLOSER TOGETHER.

**FINN (cont'd)**

Trying to decide if that's a good thing or a bad thing, right?

QUINN MANAGES A LITTLE CHUCKLE.

**QUINN**

I'm sorry. I know what you gave up, so the two of us could be together.

**FINN**

I didn't give anything up.

(SHE SHOOTS HIM A QUESTIONING LOOK)

Remember - just after - when I quit Glee club?

**QUINN**

Yeah?

**FINN**

I was watching you the whole time. Both of you.

(BEAT)

Yeah, Rachel and I were engaged, but you and I were in love too. Once.

**QUINN**

I remember.

**FINN**

I'd never seen either of you so happy. So comfortable in your own skin. That's what kept me out of Glee club.

(BEAT)

It wasn't that I couldn't stand seeing the two of you together. It was...

(BEAT)

...knowing that I wasn't enough to make either of you feel that way.

**QUINN**

Oh, God! Finn. No! We-

**FINN**

It's okay. I was fine with that, as long as the two of you were together.

(BEAT)

Made it worth it.

**QUINN**

I wanted it to work. I really did. I-

SHE BREAKS OFF, FINISHES HER BEER. SHE PUTS IT ASIDE, AND STANDS.

**FINN**

Quinn... does Puck make you happy?

SHE STARES AT HIM IN THE FIRELIGHT. A SOFT, SAD SMILE TUGS AT HER LIPS. SHE BENDS OVER AND GIVES HIM A SWEET, LINGERING KISS.

**QUINN**

If God had any sense, I would've loved you forever.

SHE TURNS, AND WALKS AWAY. ALL FINN CAN DO IS WATCH HER GO. AND:

**FINN**

_I don't believe,_

_In the smile that you leave._

_When you walk away,_

_And say goodbye._

_Well, I don't expect,_

_The world to move underneath me._

_But for God's sake,_

_Could you try?_

SHE'S JUST A FIGURE IN THE DISTANCE NOW. THE MOONLIGHT CATCHING HER HEAD AND TURNING THOSE BLONDE WAVES INTO A HALO.

**FINN (cont'd)**

_Where is your heart?_

_Coz I don't really feel you._

_Where is your heart?_

_What I really want is to believe __you._

_Is it so hard to give me what I __need?_

_I want your heart to bleed._

_That's all I'm asking for._

_Where is your heart?_

QUINN REACHES THE STAIRS, AND WE SWITCH: SO WE'RE WATCHING HER TAKE THE SLOW WALK UP TO THE SECOND FLOOR, AND DOWN THE CORRIDOR, AS SHE PICKS UP THE SONG.

**QUINN**

_I don't understand._

_Your love is so cold._

_It's always me who's reaching out,_

_For your hand._

SHE REACHES HER DOOR, AND STOPS. SHE TURNS TO THE RAILING, LEANING ON IT. SHE CAN SEE FINN BESIDE THE FIRE FAR BELOW, AND SENDS A PLEA OUT OVER THE DISTANCE:

**QUINN (cont'd)**

_I've always dreamed,_

_That love would be everlasting._

_Like a petal fallin' to the ground, __a dream will follow on this __dream..._

EMOTIONAL, SHE RUSHES INTO THE ROOM. WHERE PUCK IS ALREADY FAST ASLEEP.

**QUINN (cont'd)**

_Where is your heart?_

_Coz I don't really feel you._

_Where is your heart?_

_What I really want is to believe __you._

_Is it so hard to give me what I __need?_

_I want your heart to bleed._

_That's all I'm asking for._

_Where is your heart?_

SHE SITS ON THE SIDE OF THE BED, AND REACHES FOR HIM. BUT HER HAND STOPS INCHES FROM HIS SKIN. ALMOST LIKE THERE'S A BARRIER BETWEEN THEM.

**QUINN (cont'd)**

_I know that you're true to me._

_You're always there,_

_You say you care._

_I know that you wanna be mine._

_Where is your heart?_

_Coz I don't really feel you._

_Where is your heart?_

_What I really want is to believe __you._

_Is it so hard to give me what I __need?_

_I want your heart to bleed._

_That's all I'm asking for._

_Where is your heart?_

SHE'S IN TEARS BY THE END OF THIS. SHE TAKES ONE LAST LOOK AT PUCK'S SLUMBERING FORM, THEN GETS UP AND HURRIES INTO THE BATHROOM. AS THE DOOR CLOSES, WE SWING BACK IN, LOW, UNTIL WE'RE LEVEL WITH PUCK ON THE BED... AS HE OPENS HIS EYES.

**COMMERCIAL BREAK**

**.**

**.**

**ACT 3, SCENE 14**

**INT. SHALOM MOTEL, QUICK'S ROOM**

THE NEXT MORNING. PUCK'S STILL ASLEEP. WE WATCH HIM STIR, TURN OVER, FLING HIS ARM ACROSS THE BED - AND HIT NOTHING. HE WAKES UP, LOOKS AROUND BLEARILY.

**PUCK**

Quinn! Hey, Quinn!

NO ANSWER. SHE'S NOT THERE. PUCK'S GRIM, ROLLS ONTO HIS BACK, STARING AT THE CEILING. NOT HAPPY.

**CUT TO:**

.

.

**ACT 3, SCENE 15**

**INT. WILLIAM MCKINLEY HIGH, PRINCIPAL'S OFFICE**

QUINN KNOCKS ON A DOOR WITH THE SIGN, "SUE SYLVESTER, PRINCIPAL (JOINT)" ON IT.

**SUE (OFF)**

Come!

QUINN ENTERS. SUE IS BEHIND HER DESK, TAKES OFF HER GLASSES AND SMIRKS AT THE SIGHT OF QUINN.

**SUE (cont'd)**

Well, well... If it isn't my most errant cheerleader.

**QUINN**

Hi, Coach.

**SUE**

Oh, not a coach anymore, Q. As you can see.

SHE GESTURES AT THE PLAQUE ON THE DOOR.

**QUINN**

You'll always be Coach to me.

**SUE**

And you'll always be 16 and knocked up to me. Have a seat.

QUINN GRINS, AND SITS DOWN.

**CUT TO:**

.

.

**ACT 3, SCENE 16**

**INT. WILLIAM MCKINLEY HIGH, FINN HUDSON'S CLASS**

FINN IS CONDUCTING A CLASS. THE STUDENTS ARE SMILING - ACTUALLY SEEM TO PAY ATTENTION. FINN HAS TWO STUDENTS UP IN FRONT OF THE CLASS, HOLDING SLIM BOOKS. WE WATCH FROM OUTSIDE THE CLASSROOM FOR A SECOND, UNABLE TO HEAR THEM. THE CLASS BURSTS OUT LAUGHING, AND WE PUSH IN.

**FINN**

Laugh now, but you're following along, aren't you?

A KID IN THE FRONT ROW, MICHAEL, BEGRUDGINGLY SAYS:

**MICHAEL**

Yeah, sure Mr. H. But you gotta admit, Eric looks like a tool up there.

THE CLASS LAUGH AGAIN.

**FINN**

Okay, okay, but the point is Shakespeare didn't write books. He wrote plays. Only when you see them acted out, that's when you get what the dude was on about.

(BEAT)

Eric, Jackie, carry on.

HE GESTURES AT THE TWO UP FRONT, WHO STRIKE WHAT THEY CONSIDER SHAKESPEAREAN POSES.

**ERIC**

Lady, by yonder blessed moon I swear, that tips with silver all these fruit-tree tops-

**FINN**

Okay, Jackie, interrupt him! You're not happy with the lines this guy's flinging! Get in there!

**JACKIE**

O, swear not by the moon, the inconstant moon!

**FINN**

Nice...

**JACKIE**

That monthly changes in her circled orb, lest your love prove likewise variable.

FINN HAS HIS BACK TO THE DOOR, WHERE A FIGURE APPEARS. MICHAEL SPOTS THE FIGURE, IS ABOUT TO SPEAK, BUT IS HUSHED BY THE FIGURE RAISING A FINGER TO IT'S LIPS.

**FINN**

Okay, so what's Juliet saying here?

KID IN THE BACK, STEVEN, RAISES HIS HAND.

**STEVEN**

Something about the moon being a circle.

**FINN**

(SIGHS)

Okay, maybe just carry on a bit and we'll see.

**ERIC **

Me?

**FINN**

Yeah.

**ERIC**

What shall I swear by?

**JACKIE**

Do not swear at all.

(BEAT)

Or, if thou wilt-

SUDDEN GIGGLING FROM THE BACK OF THE CLASS.

**FINN**

What?

**STEVEN**

Get it, Mr. H? Wilt?

**FINN**

Yeah, that is pretty funny. Anyway...

**JACKIE**

Or if thou wilt, swear by thy gracious self, which is the god of my idolatry. And I'll believe thee.

**FINN**

Okay, come on guys! Think! What are they saying here?

**RACHEL (O.S.)**

Don't make promises you can't keep.

FINN FREEZES. HE DOESN'T TURN AROUND. THE SILENT CLASS WAITS FOR HIM TO MAKE A MOVE. THEY WAIT IN VAIN.

**JACKIE**

Uh... Mr. H. There's-

**FINN**

Yeah. Yeah, I know.

(BEAT)

Uh... class dismissed.

**ERIC**

What?

**MICHAEL**

There's still 20 minutes left.

**FINN**

So, do you wanna spend those 20 minutes arguing, or hanging out on the bleachers?

AS ONE THE CLASS BOLT TO THEIR FEET AND HEAD FOR THE DOOR, WHERE RACHEL HAS TO STEP SMARTLY ASIDE TO AVOID BEING TRAMPLED. FINN STILL HASN'T TURNED AROUND.

JACKIE'S THE LAST TO LEAVE. SHE GRABS A PEN, THEN FLICKS TO THE FRONT OF HER COPY OF _ROME__O__AN__D__JULIE__T_AS SHE APPROACHES RACHEL.

**JACKIE**

Can I have your autograph?

**RACHEL**

Sure. What's your name?

**JACKIE**

Jackie.

RACHEL SCRIBBLES SOMETHING, THEN HANDS THE BOOK BACK.

**RACHEL**

There you go.

**JACKIE**

(READS)

"To Jackie, Wish upon the stars. They're closer than you think."

(BEAT)

Thank you so much.

RACHEL SMILES AND THE GIRL LEAVES. SHE TURNS TO FINN, WHO'S NOW STANDING WITH HIS HANDS ON HIS DESK, STARING AT THE OPPOSITE WALL, AND HER SMILE DIES.

**RACHEL**

You're pretty great with them.

(BEAT)

A natural.

**FINN**

Thanks.

**RACHEL**

Are you gonna look at me?

FINN TAKES A BREATH, THEN TURNS AROUND. HE STARES AT HER FOR FIVE LONG SECONDS, THEN DROPS HIS HEAD.

**FINN**

Dammit!

**RACHEL**

(ALARMED)

What?

**FINN**

I was hoping you'd be... you know, hideous or something.

RACHEL BLUSHES. SOME OF THAT SCHOOLGIRL DEMEANOR IS BACK AS SHE TWIDDLES HER THUMBS.

**RACHEL**

I'm sorry I'm late. I...

(BEAT)

I...

**FINN**

You weren't planning on coming.

**RACHEL**

You read minds now?

**FINN**

(IGNORES THIS)

I'm glad you're here.

MORE SILENCE. UNCOMFORTABLE THIS TIME.

**FINN (cont'd)**

You, uh... you wanna get something to drink?

**RACHEL**

Yeah. Sure.

(BEAT)

There are... things to say.

**CUT TO:**

**.**

**.**

**ACT 3, SCENE 17**

**INT. WILLIAM MCKINLEY HIGH, PRINCIPAL'S OFFICE**

SUE AND QUINN STILL SITTING ACROSS FROM EACH OTHER.

**SUE**

I've been following your career with interest.

**QUINN**

You have?

**SUE**

Of course! I keep track of all successful alums in case we need donations.

**QUINN**

So you got my cheque for the boosters?

**SUE**

And it's much appreciated.

**QUINN**

I'm glad I could help.

**SUE**

But answer me this, Q-tip.

(BEAT)

Why aren't you married yet?

**QUINN**

Excuse me?

**SUE**

That was always the plan, wasn't it?

(BEAT)

I remember many a fond hour I spent picturing you slowly drowning to death in a few inches of polluted groundwater while you droned on and on about having it all - the marriage, the 2.5 children, which is frankly scary! I mean, what is .5 of a child? The top half is so much less cute without the bottom half. But no, you insisted you were Quinn Fabray and you were going to escape Lima and have it all.

**QUINN**

Well... you know what they say about the best laid plans?

**SUE**

I always thought you and that annoying glass-breaker would make it.

**QUINN**

Glass-breaker?

**SUE**

Yes. What's-her-name... with the homosexual fathers?

**QUINN**

Rachel?

**SUE**

You know I stopped drinking single- malt in my office because of her? Can you guess why?

**QUINN**

I'm sure I can't even begin to imagine.

**SUE**

Because the art of drinking a good single malt - and yes, it's an art. One I have peddled on many occasions to be introduced at middle-schools across the nation. Sadly, without result so far.

(BEAT)

But the art of the Scotch, as I call it, is to enjoy that smoked vapour taste in the purest crystal decanters. Sadly, everytime that Berry girl opened her mouth to belt out a showtune, she'd shatter the priceless glasses my grandmother smuggled over from the great European crystal factory, Crystals-R-Us, in 1935.

**QUINN**

Yeah, she... hit the notes.

**SUE**

Just not with you, obviously.

**QUINN**

Why would you even think of me and Rachel? I mean, you're talking about marriage, and kids, and-

**SUE**

It's the Year of Our Lady 2019, Q! The world's changed. You helped it change, with pieces like your fascinating treatise on gay rights for the Washington Post. What was it called?

**QUINN**

"That's So Portmanteau".

**SUE**

Right. I thought that was a clever title.

SUE SWIVELS IN HER CHAIR. QUINN FOLLOWS HER EYES, AND SEES THE ARTICLE, FRAMED IN GOLD, HANGING ON THE WALL BESIDE SUE'S NUMEROUS DIPLOMAS.

**QUINN**

You... you framed it.

**SUE**

Something I never told you while you were here, Q. And I wish I had...

(BEAT)

I'm proud of you.

QUINN'S SPEECHLESS.

**CUT TO:**

**ACT 3, SCENE 18**

**EXT. WILLIAM MCKINLEY HIGH, ROOFTOP**

FINN AND RACHEL ARE SITTING ON A COUPLE OF CHEAP FOLD-OUT GARDEN CHAIRS ON THE ROOF OF THE SCHOOL. THEY HAVE THEIR FEET UP ON THE LOW WALL, LOOKING OUT OVER THE FRONT ENTRANCE, WITH THE FOOTBALL FIELD SPREAD OUT TO THEIR LEFT. THEY'RE SIPPING BEERS FROM A SIX- PACK RESTING BETWEEN THEM.

**RACHEL**

(HOLDING UP A BEER)

Good thing you keep these in your desk.

**FINN**

I know it's unprofessional, but when you teach at this school you learn to drink during office hours.

**RACHEL**

How come we never came up here before?

**FINN**

Only faculty have a key to the door.

**RACHEL**

Like that would have stopped Puck.

**FINN**

True.

THEY SIP THEIR DRINKS IN COMPANIONABLE SILENCE FOR A WHILE. THEN:

**RACHEL**

This is it.

**FINN**

What?

**RACHEL**

What I hoped for. Just this...

(BEAT)

Being able to just... sit with you.

(BEAT)

I almost didn't come. I expected to walk straight into a storm.

**FINN**

Why?

(WHEN RACHEL DOESN'T ANSWER)

What happened with Quinn, Rachel?

(BEAT)

I spoke to her last night. She's doing the Quinn thing, hiding it really well, but... she's a mess.

STILL RACHEL DOESN'T ANSWER, STOICALLY SIPPING HER BEER. FINN NODS.

**FINN (cont'd)**

I'm sorry. This is exactly what you didn't want.

**RACHEL**

It's okay.

**FINN**

Hey, I never congratulated you in person.

**RACHEL**

On what?

**FINN**

The Tony award.

**RACHEL**

That was three years ago, Finn.

**FINN**

Still a big deal, right?

**RACHEL**

(LAUGHS)

Yeah.

**FINN**

Well...

THEY CLINK BEERS. THEY'RE QUIET AGAIN FOR A WHILE, THEN:

**FINN (cont'd)**

Rachel?

**RACHEL **

Yes?

**FINN**

I'm glad you came.

HE WAITS FOR RACHEL TO RESPOND, BUT SHE DOESN'T. HE LOOKS AT HER, AND SHE'S SITTING UP STRAIGHT IN THE CHAIR, HER EYES ON SOMETHING OVER THE WALL. FINN LOOKS, AND SPOTS QUINN, WALKING UP THE PATH, AWAY FROM THE SCHOOL, TO WHERE PUCK'S GTO IS PARKED.

**RACHEL**

(WHISPERS)

Quinn...

UNBELIEVABLY, QUINN STOPS. SHE TURNS AROUND, GLANCING THIS WAY AND THAT. THEN SHE LOOKS UP, USING ONE HAND TO SHIELD HER EYES. RACHEL'S ALMOST FROZEN, AND SO IS QUINN - STANDING THERE ALL MARILYN MONROE AGAIN.

**FINN**

(SWALLOWS)

Go talk to her.

RACHEL DOESN'T MOVE.

**FINN (cont'd)**

Rachel, go talk to her.

STILL, RACHEL HESITATES. AND NOW, IT'S TOO LATE. QUINN SPINS ON HER HEEL AND HURRIES TO THE CAR. FINN SIGHS, PUTS DOWN HIS BEER, AS HE WATCHES HER PULL OUT AND DRIVE AWAY. BESIDE HIM, RACHEL HANGS HER HEAD, A LITTLE ASHAMED.

**CUT TO:**

**.**

**.**


	6. Loving You Just Hurts

**ACT 3, SCENE 19**

**EXT. SHALOM MOTEL / QUICK'S ROOM**

QUINN PULLS UP, AND ALL BUT JUMPS OUT OF THE CAR. SHE HURRIES ALONG THE PATH, INTO THE POOL AREA WHERE MOST OF THE GROUP ARE GETTING THEIR TAN ON.

**QUINN**

Has anyone seen Puck?

**SANTANA**

He's in your room fetching me a special sunblock!

(AS QUINN HEADS FOR THE STAIRS)

And tell him it better work! If I go from J-Lo to Queen Latifah, I'm taking it out of his ass!

QUINN ISN'T EVEN LISTENING. SHE DASHES UP THE STEPS, DOWN THE HALL AND INTO THEIR ROOM, WHERE PUCK IS DIGGING FOR SOMETHING IN HIS BAG.

**PUCK**

Hey. So I was thinking-

**QUINN**

We're leaving.

**PUCK**

What?

**QUINN**

We're leaving. Get your stuff.

PUCK JUST STANDS THERE, PUZZLED, AS QUINN GRABS HER BAG AND STARTS RIPPING CLOTHES OUT OF THE CLOSET AND STUFFING IT IN. FINALLY, PUCK SEEMS TO REMEMBER HIMSELF.

**PUCK**

Quinn, wait! What the hell is going on?

**QUINN**

This was a mistake, okay? I thought I could do it. I thought I could come back here. But I can't. I just can't, okay?

PUCK GRABS THE BAG OUT OF HER HAND.

**PUCK**

No. Not okay. What happened?

SHE GRABS IT BACK.

**QUINN**

Nothing happened. I just came to my senses.

**PUCK**

Right.

**QUINN**

Fine. Stay here, then. But I'm leaving.

SHE CARRIES ON PACKING. PUCK PLANTS HIS HANDS ON HIS HIPS, DOES THE EYE-ROLL.

**PUCK**

Oh, God. She's back.

QUINN, THINKING HE MEANS RACHEL, WHIRLS ROUND.

**QUINN**

What? Who's back?

**PUCK**

Insane!Quinn, that's who! I thought we left her behind at graduation, but no... here she is, ready for her curtain call.

**QUINN**

Puck! I... you...!

SHE FLINGS HER BAG AT HIM. HE CATCHES IT EASILY, AND LAUGHS. A COUPLE SECONDS, AND THEN SHE LAUGHS TOO.

**PUCK**

You know how crazy you're acting, right?

**QUINN**

Yes.

(BEAT)

Yes, I do. I'm sorry.

**PUCK**

It's okay.

(BEAT, PUTS HIS HANDS ON HER SHOULDERS)

Just remember, this trip's supposed to be fun. Catch up with our friends, tell stories about how dumb we used to be... it can be awesome. If you let it.

QUINN NODS. PUCK GIVES HER A KISS ON THE FOREHEAD.

**PUCK (cont'd)**

Alright, I should get this down to Santana.

HE PICKS UP A BOTTLE OF SUNBLOCK, AND HEADS OUT THE DOOR. HE LEAVES THE DOOR OPEN. THROUGH THE RAILING, QUINN CAN SEE HER FRIENDS, HAVING FUN. MIKE, BRITTANY AND RORY ARE HAVING A CANON- BALL COMPETITION. BUT QUINN'S NOT LAUGHING ANYMORE.

SHE SINKS DOWN ONTO THE BED AS AN ELECTRIC GUITAR TAKES US TO ANOTHER PLACE.

**QUINN**

_This Romeo is bleeding._

_But you can't see his blood._

_It's nothing but some feelings,_

_That this old dog, kicked up._

_It's been raining since you left me_

_Now I'm drowning in the flood._

_You see I've always been a fighter,_

_But without you, I give up._

**CUT TO:**

**.**

**.**

**ACT 3, SCENE 20**

**INT. WILLIAM MCKINLEY HIGH, ROOFTOP / STAIRWELL / HALLWAY**

RACHEL HAS GAINED HER FEET. SHE HANDS FINN THE BEER, TURNS AND HEADS FOR THE DOOR, AS SHE CARRIES ON THE SONG.

**RACHEL**

_Now I can't sing a love song,_

_Like the way it's meant to be._

_Well, I guess I'm not that good __anymore,_

_But baby, that's just me._

WE TRACK HER DOWN THE DARK STAIRWELL, THEN OUT INTO THE HALLWAYS. STUDENTS DRIFT BY, BUT THEY PAY NO ATTENTION TO HER, AS SHE SINGS:

**RACHEL (cont'd)**

_And I... will love you, baby._

_Always._

_And I'll be there,_

_Forever and a day._

_Always._

**CUT TO:**

**.**

**.**

**ACT 3, SCENE 21**

**INT. QUICK'S ROOM / SHALOM MOTEL**

QUINN MANAGES TO GET UP. SHE CROSSES THROUGH THE DOOR, STANDS BY THE RAILING. DOWN BELOW, PUCK IS RUBBING LOTION ON SANTANA'S BACK. HE KEEPS TRYING TO GRAB HER ASS, AND SHE HAS TO KEEP SLAPPING HIM. TO THE AMUSEMENT OF THOSE WATCHING. THE JOVIALITY IS IN SHARP JUXTAPOSITION TO THE PAIN IN QUINN'S VOICE, AS SHE SINGS:

**QUINN**

_I'll be there til the stars don't __shine._

_Til the heavens burst and the words __don't rhyme._

_I know when I die, you'll be on my __mind._

_And I'll love you... always._

**CUT TO:**

**.**

**.**

**ACT 3, SCENE 22**

**INT. WILLIAM MCKINLEY HIGH, HALLWAY**

RACHEL'S STANDING BY THE TROPHY CABINET IN THE ENTRANCE HALL. ON ONE SIDE IS A GIANT TROPHY PROCLAIMING: "_NE__W __DIRECTION__S __- __SHOW CHOI__R __NATIONA__L __CHAMPIONSHIP__S __201__2 __- __1S__T __PLACE."_

BEHIND THE TROPHY ARE PICTURES. RACHEL RUNS HER EYES OVER THEM - GROUP SHOTS OF THE GLEE CLUB, AS WELL AS SOME INDIVIDUAL CANDIDS. BUT HER EYES LINGER ON THE PICTURES OF QUINN.

**RACHEL**

_Now the pictures that you left __behind,_

_Are just memories of a different __life._

QUINN STICKING HER TONGUE OUT FOR THE CAMERA

_Some that made us laugh,_

CLOSE-UP OF QUINN WITH HER HAIR FALLING OVER HER EYES

_Some that made us cry._

_One that made you have to say __goodbye._

**CUT TO:**

**.**

**.**

**ACT 3, SCENE 23**

**EXT. SHALOM MOTEL**

QUINN HAS REACHED THE POOL. PUCK HOLDS OUT HIS HAND, AND SHE TAKES OFF HER SHOES, GOES TO SIT BETWEEN HIS LEGS, WITH HER FEET DANGLING IN THE WATER, WATCHING THE MERRIMENT AROUND HER. BUT IT'S CLEAR SHE'S NOT A PART OF IT. IT'S CLEAR SHE'S THINKING OF SOMEONE ELSE.

**QUINN**

_What I'd give to run my fingers __through your hair,_

_To touch your lips, to hold you __near._

_When you say your prayers, try to __understand,_

_I've made mistakes, like any man._

AT THE LAST LINE, SHE LOOKS UP - ACROSS THE POOL, TO THE ENTRANCE TO THE PARKING LOT. WHERE RACHEL IS STANDING IN THE SHADOWS. WATCHING HER.

**RACHEL**

_When he holds you close,_

_When he pulls you near._

_When he says the words,_

_You've been needing to hear._

SHE STEPS OUT OF THE SHADOWS, THE EMOTION IN THE MUSIC OVERTAKING HER.

**RACHEL (cont'd)**

_I wish I was him,_

_Coz those words are mine._

_To say to you,_

_Til the end of time._

NOW QUINN JOINS IN AS RACHEL, LED BY FINN, MAKES HER SLOW PROGRESS ROUND THE POOL TOWARD THE GROUP, HAVING TO STOP EVERY NOW AND THEN TO HUG A FELLOW GLEE-CLUBBER. BUT IT DOESN'T INTERRUPT THEIR SONG.

**QUINN & RACHEL**

_And I... will love you, baby._

_Always._

_And I'll be there,_

_Forever and a day._

_Always._

PUCK STANDS, GIVES RACHEL A HUG. THEN HE HANDS FINN A BEER, AND THEY RETURN TO THEIR LOUNGING. AS THE GUITAR WAILS, RACHEL CAN'T TAKE IT ANYMORE, RETREATS TO THE ROCK FORMATION BORDERING ONE SIDE. ALSO REMOVING HER SHOES, SHE PERCHES ON A ROCK, HER EYES LOCKED ON QUINN THE WHOLE TIME, AS:

**QUIN****N****&****RACHE****L****(cont'****d****) **

_I__f __yo__u __tol__d __m__e __t__o __cr__y __fo__r __you__, __I __could._

_If you told me to die for you, I __would._

_Take a look at my face,_

_There's no price I won't pay._

_To say these words to you..._

IT'S LIKE THEY'RE CAUGHT UP IN A WHIRLWIND OF THEIR OWN MAKING.

**QUIN****N****&****RACHE****L****(cont'****d****) **

_Well__, __ther__e __ain'__t __n__o __luck__, __i__n __these loade__d __dice._

_But baby if you give me just one more try._

_We can pack up our old dreams and our old lives._

_We'll find a place where the sun still shines._

YOU CAN SEE THEM STRAINING TO GET UP, RUN TO EACH OTHER. BUT THEN RACHEL LOOKS AT FINN, AND HE SMILES AT HER. PUCK KISSES QUINN ON THE BACK OF THE HEAD. WHEN THEY MEET EACH OTHER'S EYES AGAIN, RACHEL AND QUINN KNOW THAT ALL THEY HAVE IS THE SONG.

**QUIN****N****&****RACHE****L****(cont'****d****) **

_Yea__h __I..__.__wil__l __lov__e __you__, __baby. _

_Always._

_And I'll be there, _

_Forever and a day. _

_Always._

_I'll be there til the stars don't shine._

_Til the heavens burst and the words don't rhyme._

_I know when I die, you'll be on my mind._

_And I'll love you... always. Always..._

THE MUSIC AND THEIR VOICES ARE CUT OFF BY A LOUD SCREAM OF:

**BRITTANY**

_Geronimo!_

SHE LEAPS OVER RACHEL'S HEAD AND HITS THE WATER WITH A TREMENDOUS SPLASH THAT SOAKS EVERYONE. RACHEL BLUBBERS, SPITTING OUT WATER. AND:

**COMMERCIAL BREAK:**

**.**

**.**


	7. Remember The Feeling

**ACT 4, SCENE 24**

**INT. SHALOM MOTEL, REC ROOM**

SOME TIME HAS PASSED. THE GROUP HAVE MOVED ON FROM THE POOL, AND GATHERED IN THE LARGE, BUT SPARSE REC ROOM OF THE MOTEL. THERE'S A PING-PONG TABLE, A DARTBOARD, A KARAOKE SET AND CHAIRS LINED UP AGAINST THE WALL. SNACKS HAVE BEEN LAID OUT, AND THE GROUP DIGS IN.

FINN STANDS AGAINST ONE WALL, FACING THEM.

**FINN**

Guys! Hey, everybody, listen up!

EVERYONE IGNORES HIM, CHATTING AMONGST THEMSELVES AND STACKING THEIR PLATES.

**FINN (cont'd)**

_Hey!_

FINALLY, THEY TURN TO FACE HIM.

**FINN (cont'd)**

Thank you.

(MUTTERS)

God, you're worse than my students.

**SANTANA**

What is it, Finn? There's a still a couple hours daylight left, and we wanna be by the pool.

GENERAL ASSENT FROM THE GROUP.

**FINN**

I wanted to talk to you guys about tomorrow night.

**TINA**

Your invite said we'll be having a dinner thing. Kinda like the official reunion?

**FINN**

Actually, it's a dance.

**MERCEDES**

A dance?

**FINN**

The Homecoming Dance.

**SAM**

Is that what you called it? Dude, that's cheesy. Even for us.

**FINN**

No, it's the school's Homecoming Dance. We're joining them together.

(BEAT)

My Glee Club's performing, and I really wanted you guys to see 'em. Plus, it'll be fun. Like prom all over again. We get to dress up-

**PUCK**

Spike the punch.

**FINN**

Right. Spike the punch...

(BEAT)

Wait. What? No! I'm a teacher now. You can't do that.

**PUCK**

Killjoy.

**FINN**

Plus, just like _ou__r _prom...

**ARTIE**

Oh no...

**SUGAR **

What?

**ARTIE**

I see where this is going.

**FINN**

Come on! It'll be fun!

**SUGAR**

What?

**QUINN**

He wants us to do a number.

**FINN**

A set, actually.

**MIKE**

Are you kidding? We haven't sung together in years!

**FINN**

Exactly! Music is what brought us all together in the first place! What kind of reunion would it be if we didn't sing?

**RORY**

In front of the kids at school?

**MERCEDES**

I am not getting slushied by a teenager!

**FINN**

We banned slushies two years ago.

**SANTANA**

That doesn't make a difference. We'll make fools of ourselves.

(BEAT)

You know this group. We can never agree on anything. We'd need weeks to decide on a song, then fight over it, then decide on a different song...

**BRITTANY**

Then rehearse the choreography...

**MERCEDES**

Speaking of which, Mike and Brittany are the only two still actively dancing. The rest of us...

**RACHEL**

I dance.

**MERCEDES**

Broadway dancing.

**RACHEL**

Mike's on Broadway.

**MERCEDES**

Yeah, but he's good.

RACHEL GASPS.

**FINN**

It doesn't matter. You guys all know that we can go up there and perform cold and we'd still kick butt!

**KURT**

Do you have any idea how much you sound like Mr. Schuester right now?

**FINN**

We were National champions. The last National champions! Doesn't that mean something to you guys?

**RACHEL**

Finn's right. We can do it. We've spent our whole lives rehearsing.

**BLAINE**

Okay, prove it.

**RACHEL**

What?

**BLAINE**

You guys say you can perform cold. Well, I see a couple microphones behind you...

**RACHEL**

(GLANCES AT QUINN)

Now?

**FINN**

But... we're not ready...

**RACHEL**

Yeah, it's been so long...

**KURT**

Fine. Then no to the dance.

**FINN**

Okay! Fine! You win!

(BEAT)

Rache?

RACHEL APPROACHES FINN, AND THEY TURN THEIR BACKS TO THE GROUP, BENT OVER THE LITTLE COMPUTER THAT RUNS THE KARAOKE MACHINE.

**BLAINE**

(TO KURT)

You really think we can pull it off in front of an audience again?

**KURT**

Long as I get a solo, we'll be fine.

**FINN**

Okay, we're ready.

**SANTANA**

Be still, my beating heart.

**FINN**

Santana, you know how much I love you, right?

**SANTANA**

Yeah.

**FINN**

Well... bite me!

SANTANA GRINS. THE REST OF THE GROUP TAKE THEIR SEATS AS RACHEL HITS A BUTTON ON THE COMPUTER. PIANO MUSIC, SLOW AND MELODIOUS, STARTS PLAYING. FINN GRABS A MIC.

**FIN****N ****(cont'****d****)**

_Chance__s __ar__e __you'l__l __fin__d __me,_

_Somewher__e __o__n __you__r __roa__d __tonight._

_Seem__s __I __alway__s __en__d __u__p __drivin__g __by._

_Eve__r __sinc__e __I'v__e __know__n __you,_

_It just seems you're on your way. _

_All the rules of logic don't apply._

FINN REACHES OUT HIS HAND, AND RACHEL TAKES IT. THE RHYTHM BETWEEN THEM SEEMS SO NATURAL.

**FINN (cont'd)**

_I long to see you in the night._

_Be with you til morning light._

AND NOW, AS WE PAN ACROSS THE LISTENING GROUP, WE OVERLAY FLASHBACK SHOTS. LITTLE MOMENTS, OF THE GROUP - AND THE KIDS THEY USED TO BE.

FINN SINGING IN THE SHOWER AS MR. SCHU LISTENS IN.

QUINN, SANTANA AND BRITTANY DOING A LITTLE DANCE AND SAYING A LITTLE PRAYER.

**RACHEL**

_I remember clearly how you looked __the night we met._

_I recall your laughter and your __smile._

_I remember how you made me feel so __at ease._

_I remember all your grace and your __style._

MERCEDES CHUCKING A ROCK THROUGH A SHOCKED KURT'S WINDOW.

TINA ATOP OF A LADDER - MARIA FROM _WES__T __SID__E __STOR__Y_.

**RACHEL (cont'd)**

_And now you're all I wanna see._

_You've come to mean so much to me._

PUCK, SHIRT OFF, SITTING ON AN OUTDOOR POOL AND GRINNING FOR A MILF.

RORY GETTING SHOVED INTO A LOCKER BY A KID WITH A MULLET.

**FINN ****& ****RACHEL**

_Chance__s __ar__e __I'l__l __se__e __you,_

_Somewher__e __i__n __m__y __dream__s __tonight._

_You'll be smiling like the night we met._

BLAINE IN A WARBLER UNIFORM, ROCKING A CROWD. SAM IN THE SAME SHOWER, WITH FINN LISTENING IN.

**FINN & RACHEL (cont'd)**

_Chances are I'll hold you,_

_And I'll offer all I have._

_You're the only one I can't forget._

_Baby you're the best I've ever met._

SUGAR SINGING - AND THE FACES OF THE GLEE CLUB AS THEY'RE FORCED TO LISTEN.

ARTIE TRAPPED INSIDE A PORT-A-POTTY.

**FINN**

_And I'll be dreaming of the future._

**RACHEL**

_And hoping you'll be by my side._

RACHEL PUTTING HER NAME ON THE NEW DIRECTIONS SIGN UP SHEET, WITH THE COPYRIGHTED GOLD STAR.

MIKE AND HIS MOM DOING A SLOW DANCE.

**FINN**

_And in the morning, I'll be __longing..._

**FINN & RACHEL**

_For the night... for the night..._

KURT IN A TITANS UNIFORM, WAVING LIKE QUEEN ELIZABETH.

MR. SCHU, SHOULDERS SLUMPED, ON HIS WAY DOWN THE HALL TO BE AN ACCOUNTANT. THEN HE STOPS, TURNS BACK, AS HE HEARS SOMETHING IN THE DISTANCE...

**FIN****N ****& ****RACHE****L ****(cont'****d****) **

_Chance__s __ar__e __I'l__l __se__e __you, _

_Somewher__e __i__n __m__y __dream__s __tonight._

_You'll be smiling like the night we met._

BACK IN THE PRESENT, FINN AND RACHEL ARE STANDING REALLY CLOSE, BELTING OUT THE CHORUS. WE SWING TO TAKE IN QUINN'S REACTION. SHE LOOKS... DISTURBED. PUCK, BESIDE HER, PICKS UP ON IT.

**FINN & RACHEL (cont'd)**

_Chances are I'll hold you,_

_And I'll offer all I have._

_You're the only one I can't forget._

_Baby you're the best I've ever met._

THEY FINISH. APPLAUSE FROM THE GROUP. THEN:

**KURT**

God! Junior year flashback!

**BLAINE**

Why junior year?

**KURT**

Coz senior year Rachel was a lesbian.

**BLAINE**

Oh, right.

**QUINN**

Shut up!

EVEN SHE SEEMS SURPRISED BY THAT LITTLE OUTBURST. FINN'S QUICK TO MOVE ON.

**FINN**

Alright, so... are we in?

**ARTIE**

Is the gym up to the latest fire code standards?

**FINN**

Uh, yeah. I think so. If you're worried about being in the chair, we can-

**ARTIE**

That's not what I'm worried about.

**MIKE**

Then...?

**ARTIE**

I think you should let the school know...

(BEAT)

That New Directions are gonna set the roof on fire, y'all!

THE GROUP LAUGHS, AND THERE'S SUDDEN HUGS AND APPLAUSE.

WHILE EVERYONE'S DISTRACTED, QUINN CATCHES RACHEL'S EYE. SHE NODS AT FINN STANDING NEXT TO HER AND:

**QUINN**

(MOUTHS)

The best?

RACHEL'S MOUTH DRAWS INTO A TIGHT, OFFENDED LINE. SHE GLANCES POINTEDLY AT PUCK, AND:

**RACHEL**

(EYEBROW COCKED, MOUTHS)

The best?

SUDDENLY, THEY'RE GLARING AT EACH OTHER. SUCH A SHAME. SIGH.

**CUT TO:**

**ACT 4, SCENE 25**

**INT. SHALOM MOTEL, RACHEL'S ROOM**

OPEN ON EMPTY ROOM. BAG LYING OPEN ON THE BED. CLOTHES SCATTERED EVERYWHERE. WE HEAR THE HISS OF THE SHOWER THROUGH THE CLOSED BATHROOM DOOR.

WE HEAR A KNOCK.

SHOWER CONTINUES TO HISS. ANOTHER KNOCK.

WE HEAR THE SHOWER CUT OFF, AND A FEW BEATS LATER RACHEL, WRAPPED IN A TOWEL, EMERGES IN A CLOUD OF STEAM, WET HAIR DRIPPING DOWN HER SHOULDERS.

ANOTHER KNOCK.

**RACHEL**

I'll be right there! Keep your shirt-

(OPENS DOOR)

-on.

QUINN IS THERE, ACTUALLY TAKES A STEP BACK, CLEARLY WASN'T EXPECTING TO SEE RACHEL LIKE... THIS.

**QUINN**

Sorry. I can... um... I can come back later, or...

**RACHEL**

No, no, it's fine. Did you want something?

**QUINN**

I thought we should talk.

**RACHEL**

Really? I figured you were like me and just wanted to avoid that at all costs.

**QUINN**

I do.

(BEAT)

I mean, I did. But-

(BEAT)

Look, I don't want anything between... us... making things uncomfortable for the others this weekend. Because this isn't just about us.

**RACHEL**

Have you forgotten who you're talking to?

QUINN ACTUALLY SMILES. THIS SEEMS TO MAKE HER MORE UNCOMFORTABLE.

**QUINN**

Could you...?

(BEAT)

I mean, don't you want to... get dressed?

RACHEL STEPS BACK. QUINN FOLLOWS HER INSIDE AND CLOSES THE DOOR. RACHEL STARTS RIFLING THROUGH THE CLOTHES ON THE BED.

**RACHEL**

Can't decide what to wear tonight.

(BEAT)

I was thinking my awesome ass jeans. Remember, we bought them at that thrift store in the Village?

**QUINN**

What about your yellow top? The one with the single shoulder? I brought it back from L.A.?

**RACHEL**

Oh, yeah. That's right...

(DIGS AROUND)

Here!

SHE HOLDS UP THE TOP IN TRIUMPH. QUINN SMILES. RACHEL SMILES. THEN IT SEEMS TO OCCUR TO THEM WHAT THEY JUST DID AND THE AWKWARDNESS COMES BACK.

**RACHEL (cont'd)**

I'll just go change.

RACHEL SCOOTS INTO THE BATHROOM, LEAVES THE DOOR HALF OPEN. QUINN SITS DOWN AMONGST THE CLOTHES ON THE BED. SHE IDLY RUNS HER HAND OVER THE VARIOUS FABRICS. THEN, ALMOST AGAINST HER WILL, SHE LIFTS ONE ITEM, A NEGLIGEE, HOLDS IT TO HER FACE, AND TAKES A DEEP SNIFF.

**RACHEL (OFF) (cont'd)**

So what did you want to talk about?

QUINN DROPS THE NEGLIGEE LIKE IT JUST SHOCKED HER. FROM HER POV, SHE CAN SEE THE BATHROOM MIRROR, THROUGH THE OPEN DOOR. IT'S STEAMED UP, BUT SHE CAN STILL MAKE OUT RACHEL'S SILHOUETTE AS

SHE GETS CHANGED. QUINN DOESN'T ANSWER, JUST STARES, HER MOUTH HANGING SLIGHTLY OPEN.

**RACHEL (OFF) (cont'd)**

Quinn?

**QUINN**

I'm sorry, what did you say?

RACHEL EMERGES FROM THE BATHROOM. SHE'S IN THE BLACK JEANS AND YELLOW TOP, LOOKING, WELL, SIMPLY GORGEOUS. SHE SITS DOWN ON A CHAIR, AND STARTS PULLING ON A PAIR OF ANKLE BOOTS.

**QUINN (cont'd)**

You should thank me, you know?

**RACHEL**

For what?

**QUINN**

Until me, you dressed like a nun who ran away with the priest's credit card.

RACHEL ROLLS HER EYES.

**RACHEL**

You didn't answer my question. What do you want to talk about?

QUINN LETS OUT A BREATH, NODDING. LIKE SHE'S STEELING HERSELF.

**QUINN**

I wanna know why we can't talk.

**RACHEL**

We're talking now.

**QUINN**

Yeah. And this is the most we've said to each other in - what? Almost four years?

RACHEL GOES QUIET, STARING AT THE FLOOR. THE ATMOSPHERE GETS VERY HEAVY.

**QUINN (cont'd)**

(WHISPERS)

Why can't we even talk to each other?

**RACHEL**

Sometimes...

(BEAT)

Sometimes that's just the way it goes. Sometimes too much has happened, and you can't ever go back.

**QUINN**

Do you really believe that?

**RACHEL**

I don't want to. But that's the way it is.

**QUINN**

That's crap!

**RACHEL**

Quinn...

**QUINN**

I miss you.

RACHEL STIFFENS. THEY LOCK EYES. BOTH WANT TO CRY - OR SCREAM - CAN'T REALLY DECIDE WHICH.

**RACHEL**

Then why are you here with him?

IT'S LIKE AN IRON ROD BEING INSERTED ALONG THE LENGTH OF QUINN'S SPINE. SHE STRAIGHTENS AND A FLASH OF FIRE LIGHTS IN HER EYES.

**QUINN**

Because he wants to be with me. Because he won't hurt me.

**RACHEL**

Of course he won't hurt you. You have to love someone for them to hurt you.

**QUINN**

I love him.

**RACHEL**

God, you're such a liar.

**QUINN**

That's rich. Coming from you.

RACHEL LAUGHS. THE SOUND IS BITTER AND TWISTED. SHE GETS UP AND STARTS PACING.

**RACHEL**

This is it. This is why we haven't spoken. Because this... this is what happens when we talk.

**QUINN**

You're right.

SHE STANDS TOO. RACHEL REACHES THE WALL, TURNS, AND COMES BACK THE OTHER WAY. QUINN STEPS IN FRONT OF HER, FORCING HER TO STOP.

**QUINN (cont'd)**

Just tell me one thing...

**RACHEL**

What?

**QUINN**

What happened that day?

**RACHEL**

What day?

**QUINN**

Don't play games with me. Not now. You know what day.

(BEAT)

Washington Square Park. The last day of summer.

**RACHEL**

(LOOKS AWAY)

Quinn...

**QUINN**

Tell me.

RACHEL MEETS HER EYE. AND NOW THE TEARS COME.

**RACHEL**

You wanna know what happened?

**QUINN**

Yes.

**RACHEL **

Really?

**QUINN **

Yes!

**RACHEL**

I made the biggest mistake of my life! I chucked away the only thing - the only person who ever made me truly happy, and I've spent the last four years of my life hating myself because of it!

(BEAT)

That's what happened! There! I said it! Happy?

RACHEL STEPS PAST HER, ALL BUT DASHES ACROSS THE ROOM. SHE REACHES THE WINDOW, AND FLINGS IT OPEN, LETTING IN THE COOL EVENING BREEZE.

SOMEWHERE IN THE MOTEL, SOMEONE HAS THE STEREO ON. THE GENTLE, RHYTHMIC STRUMMING OF AN ACOUSTIC GUITAR FLOATS IN WITH THE BREEZE.

WE SEE QUINN APPEAR BEHIND RACHEL, OUT OF FOCUS, LIKE A GHOST.

**QUINN**

No...

(BEAT)

I'm miserable.

**STEREO**

_We got the afternoon._

_You got this room for two._

_One thing you're left to do,_

_Discover me, discovering you._

QUINN COMES CLOSER, COMING INTO FOCUS. IT'S LIKE RACHEL CAN FEEL HER, AND CLOSES HER EYES AS SHE GETS NEAR. QUINN STOPS, RIGHT BEHIND HER, NOT TOUCHING.

**STERE****O****(cont'****d) **

_M__y __mout__h __t__o __ever__y __inc__h __of, _

_You__r __ski__n __lik__e __porcelain._

QUINN REACHES UP, SLOWLY PULLS RACHEL'S STILL-WET HAIR AWAY FROM HER NECK. RACHEL SHUDDERS.

**RACHEL**

Quinn...

**STEREO**

_One pair of candy lips, and, _

_Your bubblegum tongue._

THEY'RE BOTH TREMBLING. QUINN LEANS FORWARD, AND LAYS A RUSH OF BUTTERFLY KISSES ALONG THE SWEEP OF RACHEL'S NECK.

**STERE****O****(cont'****d) **

_An__d __i__f __yo__u __wan__t __love... _

_We'l__l __mak__e __it._

_Swim in a deep sea, Of blankets._

_Take all your big plans, _

_And break 'em._

_This is bound to be a while..._

RACHEL CAN'T TAKE IT ANYMORE. SHE SPINS IN THE COCOON OF QUINN'S ARMS, THROWING HER ARMS AROUND THE BLONDE'S NECK AND SNARING HER IN A FIERCE, HUNGRY KISS.

**STEREO (cont'd)**

_Your body is a wonderland..._

SUCH IS THE FORCE OF IT, THAT QUINN STUMBLES BACKWARDS. RACHEL REFUSES TO BREAK THE KISS, BREAK THE CONNECTION, AND FOLLOWS.

**STERE****O****(cont'****d) **

_You__r __bod__y __i__s __a __wonderland... _

_Us__e __m__y __hands..._

RACHEL USES HER HANDS. AS THEY STUMBLE, HER FINDERS ARE ALREADY FUMBLING AT THE BUTTONS OF QUINN'S SHIRT.

**STEREO (cont'd)**

_Your body is a wonderland..._

THE BACK OF QUINN'S LEGS STRIKE THE BED AND THEY BOTH GO OVER, LANDING IN A PILE OF CLOTHES. THEY START GIGGLING, EVEN AS RACHEL CHUCKS THE SUITCASE OFF THE BED.

**QUINN**

You think this is a good idea?

**RACHEL**

Was it ever?

**QUINN**

Good point.

THEY START TEARING AT EACH OTHER'S CLOTHES.

**STEREO**

_Something about the way the hair __falls in your face._

_And I love the shape you take when __crawling towards the pillow case._

TOPLESS NOW, QUINN SCOOTS TOWARD THE HEAD OF THE BED. SHE'S DISCARDED HER SHOES SOMEWHERE ALONG THE WAY. RACHEL GRABS HOLD OF THE LEG OF HER JEANS, PEELS IT OFF AS QUINN CRAWLS AWAY, STILL GIGGLING.

**STEREO (cont'd)**

_You tell me where to go, and,_

_Though I might leave to find it._

_I'll never let your head hit the __bed,_

_Without my hand behind it._

QUINN'S TURN TO PEEL OFF THE 'AWESOME ASS' JEANS. SHE FLIPS RACHEL OVER AND USES HER TEETH.

**STERE****O****(cont'****d) **

_An__d __i__f __yo__u __wan__t __love... _

_We'l__l __mak__e __it._

_Swim in a deep sea, Of blankets._

_Take all your big plans, _

_And break 'em._

_This is bound to be a while..._

NOW IT'S ALL ABOUT TOUCH AND TASTE AND SWEAT AND REMEMBERING. QUINN'S FINGERS DANCE ALONG THE INSIDE OF RACHEL'S THIGH AND SHE SQUEALS, PULLING A PILLOW OVER HER FACE.

**STEREO (cont'd)**

_Your body is a wonderland..._

QUINN YANKS THE PILLOW AWAY, KISSES HER.

**QUINN**

I forgot.

**RACHEL **

What?

**QUINN**

That it could be like this.

**STEREO**

_Your body is a wonderland,_

_Use my hands..._

RACHEL USES HER FINGERTIPS TO TRACE THE LINE OF QUINN'S PERFECT, PERFECT MOUTH.

**STEREO (cont'd)**

_Your body is a wonderland._

QUINN PINS HER TO THE BED. SHE NIBBLES ON HER CLAVICLE, ELICITING A SLIGHT SHAKE.

THE TIP OF HER TONGUE ON THE GROOVE BETWEEN HER BREASTS - A TREMOR.

HER HAIR DRAGGING STREAKS DOWN RACHEL'S FLAT STOMACH AS QUINN MOVES EVER DOWNWARD - AND NOW SHE'S TREMBLING.

**STEREO (cont'd)**

_Damn baby! You frustrate me._

_I know you're mine, all mine, all __mine..._

CLOSE UP ON RACHEL'S FACE - HER RAVEN HAIR TOSSED AGAINST THE WHITE OF THE PILLOW LIKE A RUSH OF INK.

**STEREO (cont'd)**

_But you look so good it hurts __sometimes._

HER EYES FLARE, THEN SLOWLY SHUTTER CLOSED.

**STERE****O****(cont'****d) **

_You__r __bod__y __i__s __a __wonderland... _

_Us__e __m__y __hands..._

_Your body is a wonderland... _

_Your body is a wonderland..._

AND SHE'S LOST.

**CUT TO:**

**.**

**.**


	8. No Happy Endings

**ACT 4, SCENE 26**

**INT. SYLVESTER RESIDENCE, STUDIO**

WE COME IN ON A VAST, PROFESSIONALLY TURNED OUT DANCE STUDIO. ONE WALL IS JUST A MIRROR, POLISHED TO A GLEAMING SHINE. ALONG THE RIGHT HAND SIDE IS A SOUND SYSTEM SO ADVANCED IT WOULDN'T LOOK OUT OF PLACE ON THE _STA__R __TREK __: __ENTERPRISE__._THE REST OF THE SPACE IS OPEN, WOODEN FLOORBOARDS DUSTED SO THAT ANYONE WALKING ON THEM COULD ONLY SLIP ON PURPOSE.

FINN HAS WRANGLED KURT, BLAINE AND PUCK INTO HELPING HIM SET UP MIC STANDS AND CHAIRS FOR AN AUDIENCE.

**BLAINE**

When did Sue build this place?

**KURT**

That isn't the question.

**PUCK**

It's not?

**KURT**

No. The question is... what did she build it _for?_

**FINN**

It's a dance studio.

**KURT**

That doubles as a torture room?

SILENCE FOR A GOOD FIVE SECONDS AS THE GUYS CONSIDER THIS. THEN, AS ONE, THEY SHAKE THEMSELVES OUT OF IT.

**FINN**

Nah, you don't know her anymore. She's different.

**PUCK**

Come on, dude! This is Miss Sylvester we're talking about.

**FINN**

I know. She made our lives miserable.

**KURT**

My name on the blogosphere is still Porcelain. I think it's a Stockholm Syndrome thing.

**FINN**

Well, she _ha__s _changed. She's been great at school since they made her principal.

(BEAT)

It was her idea to make Mr. Schu co-principal.

**BLAINE**

You're kidding.

**FINN**

Nope.

(BEAT)

And why else would she let us use the place on short notice?

**BLAINE**

Man's got a point.

**KURT**

Still, I've got some holy water in a flask in my pocket.

THEY ALL SHARE A CHUCKLE AND CARRY ON WITH THEIR VARIOUS TASKS FOR A WHILE.

**KURT (cont'd)**

I like it when it's like this...

(BEAT)

You know, before all the screaming and the drama.

**FINN**

Why is everyone so convinced we're gonna fight?

**KURT**

Previous experience.

FINN PULLS A FACE, GOES OVER TO UNPACK A FEW SIX-PACKS OF BOTTLED WATER HE'S BROUGHT ALONG IN A COOLER. KURT STUDIES HIM FOR A MINUTE, THEN APPROACHES.

**KURT (cont'd)**

So... how are you?

**FINN**

What?

**KURT**

I'm asking how you're doing.

**FINN**

Right now? Fine.

**KURT**

Come on, Finn.

**FINN**

Kurt, look, we had this fight at Christmas, okay? When you brought that guy over... what's his name? The weenie from Turini?

**KURT**

Paulo.

**FINN**

Right. I hated that guy.

**KURT**

At least I brought someone. Seven Christmases in a row, you've been alone.

**FINN**

Look, you don't know what it's like in this town, okay? You left. It's not easy meeting women.

**KURT**

There must be tons!

**FINN**

Sure. And all of them look like they just stepped off the cover of Farmer's Weekly!

**KURT**

Ouch.

**FINN **

Yeah.

**KURT**

What about Rachel?

**FINN**

What _abou__t _Rachel? She's in New York with you.

**KURT**

Is that the only reason you never gave it another shot?

**FINN**

Well... there's that, and - again, like you - she's gay.

**KURT**

No, she's not.

**FINN**

What?

**KURT**

I think she's bi.

**FINN**

You always said there was no such thing.

**KURT**

I know. But since she broke up with Quinn she's dated guys, girls, those co-stars of hers that count as both...

(BEAT)

Like that Jonathan Groff guy. I mean, seriously, pick a lane!

**FINN**

Who's Elaine?

(BEAT, THEN)

Doesn't matter anyway.

**KURT**

Why not?

**FINN**

I said my goodbyes to Rachel, alright? I let her go when she hooked up with Quinn.

**KURT**

Is that why you never came to see her perform? Is that why you missed her getting her Tony? Why you missed the concert in Central Park? The cruise for her 21st birthday, when most of us showed up to-

**FINN**

Alright! Alright!

FINN CLOMPS OFF TO THE OTHER SIDE OF THE HALL, WHERE HE STARTS CONNECTING CABLES FOR THE SOUND SYSTEM. KURT, NOT TO BE PUT OFF, FOLLOWS.

**KURT**

Sure... you are _s__o _over her!

FINN KNEELS DOWN SO HE CAN REACH SOME TRICKY WIRES, GRUMBLING AND MUMBLING UNDER HIS BREATH.

**KURT (cont'd)**

What was that?

**FINN**

She sang _Withou__t __Yo__u_.

**KURT**

What?

**FINN**

The concert in the park. She sang _Without You. _The same song she sang the day I...

(BEAT)

The day I proposed.

KURT DOESN'T SAY ANYTHING, JUST STARES AT HIM. FINN IS VERY AWARE OF IT, CAN'T CONNECT THE WIRES PROPERLY. EVENTUALLY HE STANDS, AND SWINGS ON HIS BROTHER.

**FINN (cont'd)**

What? Why are you looking at me like that?

**KURT**

You love her.

**FINN**

(STALKS PAST HIM)

You're crazy.

**KURT**

You still love her!

**FINN**

Shut up!

(BEAT)

I swear, you're gone for a few months and I start missing you, but you're back for five minutes and I want you gone!

**PUCK**

Preach it, brother.

**BLAINE**

What are we talking about?

**KURT**

Finn's still in love with Rachel.

**BLAINE**

Oh.

(TO FINN)

You didn't know that?

**FINN**

I'm not in love with her.

**PUCK**

Dude... who are you kidding?

**FINN**

It's been seven years!

**KURT**

So there's a time limit on it now?

**FINN**

Yes! It's like that thing... with murders...

**BLAINE**

Oh, I hope you're going somewhere good with this.

**FINN**

The statue of limitations.

**BLAINE**

Statu_t_e_._

**FINN**

Whatever. It's over.

**PUCK**

It's never over. Look at me and Quinn.

**KURT**

How did _tha__t _happen anyway?

**PUCK**

I was playing Dewey's, up in Cleveland. After the set, I get a knock on the dressing room door. I figure it's some bangin' MILF who just can't help herself - I get that a lot - and it's Quinn.

**FINN**

A bangin' MILF.

**PUCK**

Right!

(BEAT)

And it was just great to see her again, you know? So we go to dinner, she downs a coupla wine coolers and next thing you know we're in my hotel room, and-

**KURT**

Wow. Sounds like true romance.

**PUCK**

Kept the lights on and everything.

**FINN**

Well, that's great, man. I'm happy for you.

**BLAINE**

(SURPRISED)

You are?

**PUCK**

(EVEN MORE SURPRISED)

You are?

**FINN**

You love her?

**PUCK**

Yes.

**FINN **

Then I am.

**PUCK**

I'll tell you something, though. Rachel messed her up bad.

**KURT**

This coming from the guy who knocked her up.

**PUCK**

She doesn't wanna talk about it, but... I can tell.

**FINN**

(TO KURT)

What happened between them?

**BLAINE**

Yeah. You were there.

**KURT**

If they don't want to tell you, I'm not going to.

**PUCK**

Bro code really means nothing to you, does it?

**KURT**

Bro what now?

PUCK ROLLS HIS EYES.

**KURT (cont'd)**

Anyway, we're getting off topic!

**BLAINE**

What topic?

**KURT**

Finn and his all-consuming neverending love for Miss Berry.

**FINN**

Oh, give it a rest!

**KURT**

Only if you can look me in the eye and tell me - without a shadow of a doubt - that you are over her.

FINN DOESN'T MOVE.

**KURT (cont'd)**

Well?

**FINN**

I left the laptop in the van.

HE SPINS ON HIS HEEL AND STALKS OUT. KURT SIGHS.

**KURT**

Lady and gentleman...

**PUCK**

Wait. Who's the lady?

BLAINE GIVES HIM A 'WTF?' LOOK.

**KURT**

Prepare yourselves for some Finchel drama.

**CUT TO:**

**.**

**.**

**ACT 4, SCENE 27**

**INT. SHALOM MOTEL, RACHEL'S ROOM**

POST-COITUS. RACHEL'S BACK ON THE CHAIR, PULLING ON HER BOOTS. QUINN'S ON THE OTHER SIDE OF THE BED, PULLING ON HER SHIRT.

**RACHEL**

(CAN'T STOP SMILING)

Well, that was-

**QUINN**

Yeah.

**RACHEL**

But it was really-

**QUINN**

Sure.

**RACHEL **

I mean, I-

**QUINN**

I know.

MY GOD, SUDDENLY IT'S SO AWKWARD.

THEY FINISH GETTING DRESSED. THEN, AT LAST, THEY STAND AND FACE EACH OTHER, WITH THE WIDTH OF THE BED - THE BED THEY JUST... YOU KNOW - BETWEEN THEM.

**RACHEL **

What now?

**QUINN**

Now?

**RACHEL**

Yes, now. What does this mean? For us? For you and Puck? Are you going to leave him? Are you-?

**QUINN**

I don't want to think about that.

**RACHEL**

What?

**QUINN**

Not now, okay?

**RACHEL**

Look, I didn't expect this either. But we can't pretend it didn't happen.

QUINN SAYS NOTHING, JUST LOWERS HER EYES.

**RACHEL (cont'd)**

(FIRM)

We can't pretend it didn't happen, Quinn. I'm tired of us pretending.

**QUINN**

But I thought that's all we ever did.

(POINTED)

Pretend.

RACHEL ACTUALLY STUMBLES BACK A STEP, LIKE SHE'S JUST BEING SUCKER-PUNCHED.

**RACHEL**

Don't.

(BEAT)

You're going to throw that back at me? Now?

**QUINN**

That's what you said four years ago.

**RACHEL**

What is this?

(BEAT)

Revenge? Some psycho trick you're trying to pull? Get me to feel something for you again, before you-

**QUINN**

Rachel...

QUINN STOPS HERSELF. RACHEL LOOKS AT HER WITH WET EYES.

**RACHEL**

You still hate me.

**QUINN**

No. I don't.

**RACHEL**

It's okay. I don't blame you. Not after what I did.

(BEAT)

But this is just cruel.

**QUINN**

I'm not trying to hurt you.

**RACHEL**

Really? Look inside yourself, Quinn. Down deep where we both know you keep your secrets... Look in there and ask yourself... is that really true?

QUINN HAS NO ANSWER FOR THAT. RACHEL NODS. SHE LOSES THE BATTLE AGAINST THE TEARS.

**RACHEL (cont'd)**

Well, then, I can tell you what this was.

(BEAT)

It was just... a memory. And a dream.

(BEAT)

And me... falling for it all over again.

RACHEL RUSHES OUT. QUINN DOESN'T TRY TO STOP HER.

**CUT TO:**

**.**

**.**

**ACT 4, SCENE 28**

**EXT. SHALOM MOTEL / LIMA, OHIO**

RACHEL TEARS OFF DOWN THE HALLWAY. SHE'S SOBBING AS SHE GOES. SHE ALMOST SLIPS GOING DOWN THE STAIRWAY, AND HAS TO GRAB THE POLE SUPPORTING THE RAILING TO STEADY HERSELF. SHE DOESN'T LET GO, JUST PRESSES HER FACE AGAINST THE COOL METAL, TEARS STREAMING, AND SINGS...

**RACHEL**

_You were all the things I thought I __knew._

_And I thought we could be..._

_You were everything, everything __that I wanted._

_We were meant to be, supposed to __be, but we lost it._

_All of the memories so close to me,_

_Just fade away._

_All this time you were pretending,_

_So much for my happy ending!_

RECOVERING HERSELF - AT WHAT LOOKS LIKE GREAT COST - RACHEL MAKES IT DOWN THE STAIRS AND RUSHES OUT INTO THE PARKING LOT. SHE CLIMBS INTO HER CAR, AND TEARS OFF. SHE HAS TO KEEP WIPING HER EYES SO SHE DOESN'T HIT ANYTHING AS SHE RIPS THROUGH THE STREETS OF DOWNTOWN LIMA.

**RACHEL (cont'd)**

_It's nice to know that you were __there._

_Thanks for acting like you cared._

_And making me feel like I was the __only one._

_It's nice to know we had it all._

_Thanks for watching as I fall._

_And letting me know when we were __done!_

**CUT TO:**

**.**

**.**

**ACT 4, SCENE 29**

**EXT. SYLVESTER RESIDENCE**

FINN IS UNLOADING SOME BOXES FROM THE BACK OF THE VAN. HE HAS THE RADIO ON.

**RADIO**

_It was everything, everything that __I wanted._

_We were meant to be, supposed to __be, but we lost it._

_All of the memories so close to me, _

_Just fade away._

_All this time you were pretending,_

_So much for my happy ending!_

OVER THE SONG, HE HEARS THE SQUEAL OF TYRES. HE FROWNS, PUTS DOWN THE BOX THAT HE'S HOLDING AND TURNS AROUND - IN TIME TO SEE A CAR COME CAREENING AROUND THE CORNER.

IT'S HEADLIGHTS ILLUMINATE HIS SURPRISED, TERRIFIED FACE AS IT SEEMS TO SHOOT TOWARDS HIM.

**FINN**

Hey!

**RADIO**

_You were everything, everything that I wanted._

_We were meant to be, supposed to be, but we lost it._

_All of the memories so close to me, Just fade away._

_All this time you were pretending, So much for my happy ending..._

_So much for my happy ending... So much for my happy ending..._

FINN THROWS UP HIS HANDS - LIKE THAT'S GOING TO DO ANYTHING, AND AT THE LAST SECOND THE CAR SWERVES. WE HEAR THE SHRIEK OF THE BRAKES AS IT COMES TO A STOP INCHES FROM THE STREETLIGHT ACROSS THE ROAD.

FINN'S HYPERVENTILATING, BUT HE MANAGES TO SHRUG IT OFF, AND RUSH OVER TO THE DRIVER'S SIDE DOOR. HE WHIPS IT OPEN.

**FINN**

Rachel?

RACHEL DOESN'T RESPOND. SHE HAS HER HEAD RESTING AGAINST HER HANDS WHERE THEY'RE CLUTCHED ROUND THE STEERING WHEEL, SOBBING.

**FINN (cont'd)**

Hey... Hey, what's wrong?

RACHEL JUST SHAKES HER HEAD, NOT LOOKING AT HIM. FINN REACHES IN AND UNCLIPS HER SEATBELT. THEN HE SLOWLY PULLS HER OUT OF THE CAR AND FOLDS HER INTO HIS ARMS.

SHE CLUTCHES AT THE BACK OF HIS SHIRT, LEAKING TEARS INTO THE FABRIC ON HIS CHEST. HE JUST HOLDS HER.

**FINN (cont'd)**

It's alright... shh... it's okay.

**RACHEL**

Sorry.

SHE BACKS AWAY, TRYING TO PULL HERSELF TOGETHER.

**FINN**

What happened?

RACHEL WIPES HER EYES, DOESN'T ANSWER. INSTEAD, SHE LOOKS BACK AT THE HOUSE. THERE ARE NOW SEVERAL CARS PARKED IN THE DRIVEWAY AND ON THE STREET.

**RACHEL**

Everyone's here?

**FINN**

Pretty much.

(BEAT)

You wanna go inside?

**RACHEL**

No.

(SHAKES HER HEAD, FIRM)

No. Can we... can we just go somewhere else, please? Anywhere else?

**FINN**

Sure. Just let me-

**RACHEL**

Now. I need to go now.

**FINN**

Okay. But you're not driving.

RACHEL NODS. SHE WALKS ROUND TO THE PASSENGER SIDE AND CLIMBS IN. FINN GOES TO THE VAN AND TAKES THE KEYS OUT THE IGNITION, CUTTING OFF THE RADIO. BUT HE LEAVES IT OPEN AS HE JOGS BACK ACROSS THE STREET AND CLIMBS INTO THE CAR. HE GLANCES AT RACHEL, WHO HAS PULLED THE MASK BACK ON AND NOW STARES STOICALLY THROUGH THE WINDSHIELD.

**FINN (cont'd)**

You gonna be okay?

**RACHEL**

I have no idea.

FINN LOOKS LIKE HE WANTS TO SAY SOMETHING ELSE, BUT THEN HE NODS, BACKS UP, AND ROLLS ON DOWN THE STREET.

**COMMERCIAL BREAK:**

**.**

**.**


	9. How It Used To Be

**ACT 5, SCENE 30**

**INT. SYLVESTER RESIDENCE, STUDIO**

MOST OF THE GROUP HAVE GATHERED. THEY'RE ON THE CHAIRS, NOW ARRANGED IN ROWS, WATCHING TINA, BEING BACKED UP BY RORY ON DRUMS, AND SAM AND BLAINE ON GUITAR AND KEYBOARDS.

**TINA**

_Mother's on the stoop, boys in __souped-up coops,_

_On this hot summer night._

_Between fight and flight, is the __blind man's sight,_

_And the choice that's right._

THE GANG ARE GRINNING, INTO THE SONG, BOBBING THEIR HEADS.

**CUT TO:**

**.**

**.**

**ACT 5, SCENE 31**

**EXT. LIMA, OHIO**

FINN AND RACHEL ARE DRIVING ALONG.

**TINA (V.O.)**

_I roll the window down,_

_Feels like I... I'm gonna drown,_

_In this strange town._

_I feel broken down..._

_I feel broken down._

WITHOUT SAYING A WORD, FINN REACHES ACROSS THE SEAT, AND TAKES HER HAND. RACHEL'S STARTLED FOR A SECOND, BUT THEN SHE GIVES HIS HAND A SQUEEZE, AND CARRIES ON LOOKING OUT THE WINDOW.

**TINA (V.O.) (cont'd)**

_Do you need me?_

_Like I need you?_

**CUT TO:**

**.**

**.**

**ACT 5, SCENE 32**

**INT. SYLVESTER RESIDENCE, STUDIO**

**TINA**

_Or am I standing still?_

_Beneath the darkening sky._

_Or am I standing still?_

_With the scenery flying by._

_Or am I standing still?_

_Out of the corner of my eye,_

_Was that you passing me by?_

_Passing me by..._

AS THE SONG COMES TO AN END, THE DOOR OPENS AND QUINN ENTERS. MOST TURN TO WATCH HER COMING IN. TINA FINISHES AND THEY APPLAUD.

**SANTANA**

Great! You know Tina, that would be perfect if we were performing the ribbon-cutting ceremony at a Wendy's.

TINA STICKS HER TONGUE OUT AT SANTANA AND GOES TO TAKE HER SEAT. QUINN APPROACHES THE CHAIRS. PUCK SCOOTS OVER, MAKING ROOM FOR HER BESIDE HIM. SHE HESITATES FOR A SECOND, BEFORE SITTING DOWN.

**QUINN**

What's going on?

**PUCK**

Still choosing the set-list.

**MIKE**

Where's Finn?

**QUINN**

I don't know. I thought he was here.

**SUGAR**

He went out to the van a while ago.

**QUINN**

I didn't see him when I came in.

**ARTIE**

Sue probably called him. She and Mr. Schu are setting up the school gym for tomorrow night. Maybe they needed him.

**SANTANA**

(STANDS)

Okay, since Quinn's a fresh pair of ears in here...

SUDDENLY THE WHOLE GROUP IS UP IN ARMS:

**GROUP**

No! No! Sit down! No!

**SANTANA**

(TRYING TO TALK OVER THEM)

She can... decide... if... it...

**QUINN**

What is it?

**SANTANA**

These rioting plebians over here don't want me to sing-

**SAM**

_Fernand__o_! She wants to sing _Fernand__o_!

**TINA**

Rioting plebians?

**QUINN**

_Abb__a_?

**SANTANA**

Yes, _Abb__a_! It's a great song!

**KURT**

It's a terrible song!

**SANTANA**

Oh, shut it, Dorothy!

(BEAT)

Quinn, back me up here!

**QUINN**

Well, what other choices do we have?

**SANTANA**

Hussy! You're gonna take their side?

**QUINN**

I hate _Abb__a_.

**SANTANA**

No wonder you never cut it as a lesbian.

**KURT**

_Abba'__s _too gay even for me.

**BLAINE**

I second that.

**BRITTANY**

And I second his second.

**RORY**

You third.

**BRITTANY**

I, what?

**SANTANA **

Brit!

**BRITTANY**

I'm sorry, honey. But when you're wrong, you're wrong.

**SANTANA**

Fine!

SANTANA FOLDS HER ARMS AND SITS DOWN IN A HUFF. PUCK LEANS OVER TO QUINN, KEEPING HIS VOICE DOWN SO ONLY SHE CAN HEAR.

**PUCK**

Where were you?

**QUINN**

I-

(BEAT)

I took a nap. Overslept.

PUCK STARES AT HER, DISBELIEVING.

**QUINN (cont'd)**

What? Why are you looking at me like that?

**PUCK**

Do you need to... like, figure some stuff out, or something?

**QUINN**

Stuff like what?

**PUCK**

Quinn, I'm just asking.

**QUINN**

No.

**PUCK**

Good, coz... we're together, right?

**QUINN**

Puck...

**KURT**

Puck!

IT TAKES A SECOND FOR HIM TO REACT.

**KURT (cont'd)**

Puck!

**PUCK **

What?

**KURT**

You said you had a song?

**PUCK**

Yeah.

**BRITTANY**

Come on, Mr. Rockstar! Show us what you got!

ONE LAST, HARD LOOK AT QUINN, THEN PUCK STANDS.

**PUCK**

Guys?

ARTIE GRABS A GUITAR, AS DOES PUCK AND SAM JUMPS BEHIND THE DRUMS.

**PUC****K****(cont'****d****) **

_Th__e __strand__s __i__n __you__r __eyes, _

_Tha__t __colo__r __the__m __wonderful,_

_Stop me, and steal my breath. _

_And emeralds from mountains, _

_Thrust towards the sky._

_Never revealing their depth._

HE IS LOOKING ROCK STAR - EYES ON QUINN, STRUMMING THE PAIN IN THAT GUITAR.

**PUCK (cont'd)**

_And tell me, that we belong __together._

_Dress it up with the trappings of __love._

_I'll be captivated,_

_I'll hang from your lips._

_Instead of the gallows of __heartache,_

_That hang from above._

QUINN SQUIRMS UNDER THE WEIGHT OF HIS GAZE. SANTANA AND BRITTANY GLANCE AT HER, BUT SHE WON'T RETURN THEM. PUCK, MEANWHILE, HAS SOMETHING TO SING:

**PUCK (cont'd)**

_I'll be... your crying shoulder._

_I'll be love's suicide._

_And I'll be better when I'm older._

_I'll be the greatest fan of your life._

THE MESSAGE IN HIS SONG IS TUGGING AT MORE EMOTIONAL STRINGS THAN HE EVEN REALISES. QUINN'S EXPRESSION IS HARD AS GRANITE AS SHE FIGHTS TO KEEP IT ALL INSIDE.

AS HE LAUNCHES INTO THE SECOND VERSE, WE:

**FADE TO:**

**.**

**.**

_**FLASHBACK**_

_**INT. HOSPITAL**_

_PUCK AND QUINN STAND AT THE VIEWING WINDOW IN THE MATERNITY WARD, LOOKING DOWN ON LITTLE BETH AS SHE GENTLY SLEEPS._

**PUCK**

_She looks like you._

_(BEAT)_

_Do you wanna keep her?_

**QUINN**

_No._

_(BEAT)_

_Do you?_

_PUCK DOESN'T ANSWER, JUST LEANS HIS HEAD AGAINST THE WINDOW, REGRET IN HIS EYES._

**QUINN (cont'd)**

_Did you love me?_

**PUCK**

_Yes._

_(BEAT)_

_Especially now._

**PUCK (V.O.) (cont'd)**

And rain falls,

Angry on the tin roof,

As we lie awake in my bed.

And you're my survival,

You're my living proof,

My love is alive and not dead.

**FADE TO:**

**.**

**.**

**ACT 5, SCENE 33**

**EXT. FIELDS LEADING TO WATERTOWER**

CAMERA TRAVELS FAST, AND LOW OVER THE OHIO CORNFIELDS - NOW SILVER STALKS IN THE PALE MOONLIGHT. LIKE SOMEONE FLYING OVER THEM, CLOSE ENOUGH TO REACH DOWN AND BRUSH THEIR FINGERS OVER THE TIPS.

**PUCK (V.O.)**

_And tell me, that we belong __together._

_Dress it up with the trappings of __love._

_I'll be captivated,_

_I'll hang from your lips._

_Instead of the gallows of __heartache,_

_That hang from above._

**FADE TO:**

**.**

**.**

_**FLASHBACK**_

_**INT. WILLIAM MCKINLEY HIGH, AUDITORIUM**_

_FINN HAS PLACED RACHEL ON A STOOL, WITH THE PROMISE TO BE QUIET AS HE TRIES TO GET THROUGH THIS:_

**FINN**

_Let's face it, I got High School __Hero - Life Zero written all over __me. Except for one thing... _

_(BEAT)_

_You._

_SHE STARES AT HIM, UNABLE TO COMPREHEND THE PLACE OF PAIN AND PURE LOVE THIS IS ALL COMING FROM._

**FINN (cont'd)**

_You're like a... a beacon of light, __guiding me through the darkness. __You're like this... this big gold __star, and for some bizarre reason, __you chose to let me love you._

_FINALLY, RACHEL SMILES A SOFT SMILE._

**FINN (cont'd)**

_And I feel like if I can just __convince you to let me keep doing __that... I'm gonna be okay. _

_(BEAT)_

_Everything's gonna be okay._

_NERVOUS NOW, HE FUMBLES FOR SOMETHING IN HIS POCKET._

**FINN (cont'd)**

_Uh... I opened up my first credit __card to get this._

_(HE PULLS OUT A RING BOX)_

_I know it's not a... a swimming __pool full of dancers, or a... or a __tux, or... it's not very big..._

_(BEAT)_

_But it's a promise. A promise to __keep loving you for the rest of my __life._

_HE DROPS TO ONE KNEE. SHE LOOKS SHOCKED._

**FINN (cont'd)**

_All you've got to do is say 'Yes'._

_HE OPENS IT UP._

**FINN (cont'd)**

_Rachel Berry... will you marry me?_

**PUCK (V.O.)**

I've dropped out, I burned up,

I've fought my way back from the dead.

I've tuned in, I turned on,

Remembered the things that you said.

**FADE TO:**

**.**

**.**

**ACT 5, SCENE 34**

**EXT. WATERTOWER**

WE PASS OVER THE CORNFIELD, INTO AN OPEN PATCH OF GROUND. WE SEE RACHEL'S CAR PARKED BESIDE THESE LARGE METAL STRUTS EMBEDDED IN THE GROUND. WE PASS STRAIGHT OVER THE CAR, THEN TILT SHARPLY UPWARDS, AND FOLLOW THE STRUTS HIGHER AND HIGHER, UNTIL WE COME TO A PLATFORM AROUND THE TOWN WATERTOWER. IT'S A HUGE THING, EMBLAZONED WITH THE WORDS: "**LIMA****, ****OHIO****. ****HOM****E ****O****F ****TH****E ****TITANS****!**" EXCEPT SOME WISE-ASS - PROBABLY PUCK - HAS SPRAY PAINTED OVER THE 'A' AND 'N', SO IT ACTUALLY READS: "**LIMA****, ****OHIO****. ****HOM****E ****O****F ****THE ****TI****T**AN**S!**"

**PUCK (V.O.)**

_And I'll be... your crying __shoulder._

_I'll be love's suicide._

_And I'll be better when I'm older._

_I'll be the greatest fan of your __life._

RACHEL AND FINN ARE SITTING WITH THEIR CHESTS AGAINST THE LOWEST BAR OF THE SAFETY RAIL, ARMS FLUNG OVER IT, FEET DANGLING OVER THE OPEN SPACE AHEAD.

**PUCK (V.O.) (cont'd)**

_The greatest fan of your life..._

ALMOST UNCONSCIOUSLY, RACHEL REACHES FOR HIS HAND AGAIN. LIKE THE HIGH SCHOOL SWEETHEARTS THEY ONCE WERE...

**RACHEL**

It was ridiculous. There we were - New Year's Eve - and instead of joining the millions of revellers out on the streets, Kurt and I are doing this... godawful off-off-off-

**FINN**

Off-off-off-

**RACHEL**

Off-Broadway disaster of a play called _Hijac__k __Hi__s __Hear__t_.

(BEAT)

It was terrible. Or... no, terrible isn't the word. It was-

**FINN**

Sucktastic!

**RACHEL**

Yes!

(BEAT)

When we auditioned, the director immediately got this idea in his head to cast Kurt in the female lead, and me in the male part. Have you ever heard a worse idea?

**FINN**

Can't think of one off the top of my head. And I was here the day Puck jumped off this thing with an umbrella.

**RACHEL**

But, of course, we were professionals. Sort of. We spoke those awful lines, and wore the awful costumes...

(BEAT)

Except that New Year's. It was the finale of the second act. And Kurt's telling me he's leaving me for another man. And I'm supposed to be all emotional, but my line is...

**FINN**

"Please, baby, you'll always be a junkie for this junk."

RACHEL'S TAKEN ABACK.

**RACHEL**

What?

**FINN**

That was the line, wasn't it?

**RACHEL**

Yeah, but... how did you know that?

FINN DOESN'T ANSWER. RACHEL'S EYES WIDEN.

**RACHEL (cont'd)**

You saw it.

STILL FINN DOESN'T SAY ANYTHING.

**RACHE****L****(cont'****d) **I... I can't believe you were there.

**FINN**

(SHRUGS)

I've seen everything you've ever been in.

**RACHEL**

What?

(BEAT)

Are you serious?

**FINN**

What do _yo__u _think?

**RACHEL**

Why did you never say anything? Why didn't you come backstage, or-

**FINN**

I didn't think you'd want me to.

**RACHEL**

Finn, that's crazy! There has never been a day - never - when I didn't want to see you.

**FINN**

Thanks, but... I guess that's not the point.

**RACHEL**

It isn't?

**FINN**

I just wanted to see you. That was enough for me.

HE'S ONE OF THE FEW PEOPLE WHO CAN LEAVE RACHEL SPEECHLESS, AND SHE'S SPEECHLESS NOW.

**PUCK (V.O.)**

_The greatest fan of your life..._

THEY WATCH THE MOONLIGHT ON THE SWAYING HEADS OF CORN FOR A WHILE.

**RACHEL**

It's so beautiful here.

**FINN**

It's peaceful.

**RACHEL**

Yeah.

**FINN**

And sometimes...

HE TRAILS OFF, SWALLOWS, SUDDENLY EMBARRASSED. RACHEL GLANCES AT HIM.

**RACHEL**

What?

**FINN**

Nothing. It's stupid.

**RACHEL**

No. Tell me.

**FINN**

Rachel...

**RACHEL**

Why won't you tell me.

**FINN**

It's just-

(BEAT)

I started coming up here a few years ago. When I felt lonely.

**RACHEL**

When you felt lonely you came to the one place in town no one can find you?

**FINN**

(IGNORING THE SARCASM)

Yeah.

**RACHEL**

Why?

**FINN**

Coz on nights like this I could sit here... looking out past the fields and I could almost imagine that...

AGAIN, HE TRAILS OFF, EVEN MORE EMBARRASSED. SHE GIVES HIS HAND AN ENCOURAGING SQUEEZE.

**FINN (cont'd)**

I could imagine that I could see all the way to New York.

RACHEL'S BREATHLESS AGAIN. FINN'S EYES ARE TRAPPED BY THE HORIZON, LIKE HE'S TRYING TO FIND THE MANHATTAN SKYLINE IN THE DISTANCE.

**RACHEL**

I always thought...

**FINN**

What?

**RACHEL**

Well, I just always assumed that, when I left...

(BEAT)

You know, after Quinn, and what you did for us, that...

**FINN**

I'd just get over you?

(WHEN SHE NODS)

I thought you knew me better than that.

SHE THROWS HIM A SHARP GLANCE, BUT HE'S RESOLUTE IN HIS DETERMINATION NOT TO LOOK AT HER.

**RACHEL**

Finn...

**FINN**

What happened tonight? Why the sudden desire to pull an Ayrton Senna with your car?

**RACHEL**

Ayrton who?

HE DOESN'T BOTHER EXPLAINING, JUST WAITS HER OUT. RACHEL SIGHS, AND RELENTS.

**RACHEL (cont'd)**

Same old, same old...

(BEAT)

Got my heart broken again.

SILENCE. AN INFINITY OF SILENCE.

**RACHEL (cont'd)**

Do you ever wonder if it's worth it?

**FINN**

What?

**RACHEL**

What we do to each other. The make- ups, the break-ups, the tears...?

**FINN**

No. I don't wonder.

**RACHEL**

You don't?

**FINN**

(SHAKES HIS HEAD)

I know it is.

RACHEL CHUCKLES.

**RACHEL**

What is with you tonight?

**FINN**

That's easier to explain.

**RACHEL**

Really?

**FINN**

I'm sitting here with you. Never thought I'd be able to do that again.

THE MOMENT IS HEAVY. WHEN FINN FINALLY LOOKS AT HER, IT'S LIKE SHE'S DRAWN INTO HIS ORBIT. THE PULL OF HIS EYES. SHE LEANS IN... AND...

THEY HEAR THE SOUND OF A CAR CUTTING ACROSS THE FIELD. THEY BREAK AWAY FROM EACH OTHER, GLANCING UP AT A PAIR OF HEADLIGHTS BOUNCING THROUGH THE DARKNESS. A SMALL CONVERTIBLE PULLS UP RIGHT NEXT TO RACHEL'S CAR. IN FRONT ARE A COUPLE OF TEENAGERS. A BOY AND A GIRL. DESPITE THE PRESENCE OF THE CAR, THEY DON'T EVEN BOTHER LOOKING UP. THEY JUST UNCLIP THEIR SAFETY BELTS AND JUMP EACH OTHER. THE SOUNDS OF HEAVY MAKING OUT DRIFTS UP TO FINN AND RACHEL. RACHEL LAUGHS, CLAPPING HER HANDS OVER HER MOUTH.

**RACHEL**

Oh, my God!

**FINN**

Whoah... easy boy.

**RACHEL**

Were we ever that young?

**FINN**

Once upon a time.

THEY WATCH THE COUPLE FOR A FEW SECONDS, THEN RACHEL STANDS.

**FINN (cont'd)**

Where are we going?

**RACHEL**

Come on...

(LAST GLANCE AT THE YOUNG LOVERS)

Let's leave them to their youth.

SHE OFFERS HIM HER HAND. HE TAKES IT.

**CUT TO:**

**.**

**.**


	10. Just For Tonight

**ACT 5, SCENE 35**

**EXT. SHALOM MOTEL**

IT'S LATE. THE BONFIRE'S GOING AGAIN. ONLY TWO PEOPLE OUT THERE AT THIS HOUR: ARTIE AND SUGAR. SUGAR'S SITTING IN HIS LAP, TRYING TO BASICALLY EAT HIS TONGUE. AFTER A FEW MOMENTS OF HEAVY FRENCHING, ARTIE BREAKS AWAY TO TAKE A BREATH.

**ARTIE**

Wait. Why are we doing this? Why are _yo__u _doing this?

**SUGAR**

Well, I'm used to a life of leisure, and you own your own helicopter, so...

**ARTIE**

Actually, I own three.

**SUGAR**

Three?

IF ANYTHING, SHE STARTS KISSING HIM EVEN HARDER. THEY ONLY STOP WHEN THEY HEAR A DOOR OPENING, AND GLANCE AT THE FACADE OF THE MOTEL. A FIGURE COMES OUT OF ONE ROOM AND STARTS WALKING ACROSS TO ANOTHER.

**SUGAR (cont'd)**

Is that Blaine?

**ARTIE**

Going into Kurt's room.

(BEAT)

You know, if we sit here and watch, you can bet it'll look like a game of musical motel rooms.

**SUGAR**

Ooh! That sounds fun!

**ARTIE**

Look...

PUCK COMES OUT OF HIS ROOM, WEARING SLEEP-SHORTS AND CARRYING AN ICE BUCKET. BEHIND HIM, THEY CAN JUST BARELY MAKE OUT THE FIGURE OF QUINN GETTING UNDRESSED.

AWKWARD MOMENT AS HE PASSES BRITTANY AND SANTANA'S ROOM, JUST AS THE DOOR OPENS AND BRITTANY COMES OUT, WEARING A BARELY-THERE SLIP. SHE'S ALSO CARRYING AN ICE-BUCKET. AFTER SOME AWKWARD CONVERSATION - ARTIE AND SUGAR CAN'T HEAR THEM FROM SO FAR AWAY - BOTH PROCEED TO THE ICE MACHINE DOWN THE HALL. WHILE THEIR BACKS ARE TURNED:

**SUGAR**

Wait. Who's this?

THEY GLANCE BACK ALONG THE CORRIDOR IN TIME TO SEE:

**SUGAR (cont'd)**

Oh, it's just Rachel.

THEY WATCH AS RACHEL HEADS DOWN THE HALL. SHE STOPS FOR THE BRIEFEST SECOND OUTSIDE PUCK AND QUINN'S ROOM, LOOKING IN, THEN MOVES PAST IT. SHE WAVES TO PUCK AND BRITTANY, THEN GOES INTO HER OWN ROOM. AFTER A BRIEF CHAT, PUCK AND BRITTANY RETURN TO THEIR ROOMS.

**SUGAR (cont'd)**

Oh, well, looks like everyone's paired up for the night.

THEY START MAKING OUT AGAIN. OVER SUGAR'S SHOULDER, WE SEE ARTIE HAS HIS EYES OPEN, EVEN AS SHE WORKS HIS MOUTH. HE'S FROWNING.

**ARTIE**

(WITH A MOUTH FULL OF TONGUE)

Wsh e dnin ear?

**SUGAR**

Huh?

SHE BREAKS AWAY, AND LOOKS WHERE ARTIE'S POINTING. SHE SEES FINN EMERGE FROM THE STAIRWELL.

**SUGAR (cont'd)**

Doesn't he have his own place in town?

**ARTIE**

That's what I thought.

**SUGAR**

Well, we never asked him. Maybe he stays here permanently.

**ARTIE**

I don't think so.

**SUGAR**

How do you know?

**ARTIE**

Coz...

HE POINTS AGAIN. THEY SEE FINN KNOCK ON RACHEL'S DOOR. A SECOND LATER, SHE OPENS IT AND HE SLIPS INSIDE.

**SUGAR**

Scandalous!

**CUT TO:**

**.**

**.**

**ACT 5, SCENE 36**

**INT. SHALOM MOTEL, VARIOUS ROOMS**

AND NOW WE SLIP INTO A MONTAGE OF ALL THE CHARACTERS IN THEIR ROOMS, WITH LIFEHOUSE PROVIDING OUR SOUNDTRACK.

**LIFEHOUSE**

_I can't be losing sleep over this,_

_No, I can't._

_And now I cannot stop pacing._

QUINN SITTING UP IN BED, SHEETS OVER HER, WATCHING AS PUCK MIXES MARGARITAS AT THE MINI-BAR.

**LIFEHOUSE (cont'd)**

_Give me a few hours,_

_I'll have this all sorted out._

_If my mind would just stop racing._

RACHEL IS SCURRYING AROUND THE ROOM, PICKING UP THE CLOTHES THAT GOT TOSSED AROUND DURING THE LOVEMAKING WITH QUINN EARLIER. FINN WATCHES HER.

**LIFEHOUSE (cont'd)**

_Coz I cannot stand still._

_I can't be this unsteady._

_This cannot be happening..._

KURT IS LAYING CROSSWISE ON THE BED, WITH HIS HEAD IN BLAINE'S LAP. BLAINE HAS THE NIGHTLIGHT ON, AND READS TO HIM FROM A WORN COPY OF THE _VELVETEE__N __RABBI__T_.

**LIFEHOUSE (cont'd)**

_This is over my head,_

_But underneath my feet._

_Coz by tomorrow morning,_

_I'll have this thing beat._

MERCEDES RECLINES AGAINST A BUNCH OF PILLOWS, REGALING SAM WITH SOME STORY. HE'S SITTING BETWEEN HER OPEN LEGS, PAINTING HER TOENAILS AND LAUGHING.

**LIFEHOUS****E****(cont'****d****) **

_An__d __everythin__g __wil__l __b__e __back, _

_T__o __th__e __wa__y __tha__t __i__t __was._

_I wish that it was just that easy._

RORY IS ALONE IN HIS ROOM, TALKING ON THE PHONE. HE'S SMILING THE MOST GENUINE SMILE, LOOKING AT A PICTURE IN HIS HAND. ITS A FAMILY PHOTOGRAPH SHOWING A BEAUTIFUL FLAME-HAIRED WOMAN, AND TWO YOUNG CHILDREN, WHO LOOK EXACTLY LIKE RORY.

**LIFEHOUS****E****(cont'****d****) **

_Co__z __I'__m __waitin__g __fo__r __tonight. _

_Bee__n __waitin__g __fo__r __tomorrow._

_And I'm somewhere in-between. _

_What is real and just a dream?_

MIKE AND TINA ARE DANCING IN HIS ROOM. IT'S A SLOW DANCE. NONE OF THAT FANCY MIKE FOOTWORK - JUST TWO PEOPLE - THE CLOSENESS - AND THE DANCE.

**LIFEHOUS****E****(cont'****d****) **

_Wha__t __i__s __rea__l __an__d __jus__t __a __dream?_

___Wha__t __i__s __rea__l __an__d __jus__t __a __dream?_

___Wha__t __i__s __rea__l __an__d __jus__t __a __dream?_

SANTANA AND BRITTANY AREN'T MAKING MARGARITAS. BRITTANY IS LYING FLUSH ON THE BED, NAKED. SANTANA HAS AN ICE-CUBE CAUGHT BETWEEN HER LIPS AND RUNS IT OH SO SLOWLY UP THE EXPANSE OF BRITTANY'S STOMACH AS SHE SQUEEZES HER EYES SHUT AND GASPS.

**LIFEHOUSE (cont'd)**

_Would you catch me if,_

_I fall out of what I fell in?_

_Don't be surprised if I collapse,_

_Down at your feet again._

_I don't want to run away from this._

_I know that I just don't need this._

QUINN'S GOT HER FEET PROPPED UP, A BOOK IN HER LAP, SIPPING THE MARGARITA. PUCK PLUCKS IT OUT OF HER HAND, CLOSES THE BOOK, AND KISSES HER.

**LIFEHOUSE (cont'd)**

_Coz I cannot stand still._

_I can't be this unsteady._

_This cannot be happening..._

FINN AND RACHEL, ACROSS THE ROOM FROM EACH OTHER. LOOKING AT EACH OTHER THE WAY THEY ALWAYS DID WHEN THEY WERE PERFORMING. A CHOREOGRAPHED STEP FORWARD. THEN ANOTHER, AND ANOTHER...

**FINN**

I've been waiting for...

RACHEL CLOSES THE DISTANCE BETWEEN THEM AND PUTS A FINGER TO HIS LIPS.

**RACHEL**

No. No talking.

(BEAT)

We've done enough of that for two lifetimes.

FINN NODS, AND KISSES HER.

**LIFEHOUSE**

_Coz I'm waiting for tonight._

_Then waiting for tomorrow._

LATER.

**LIFEHOUSE (cont'd)**

_An__d __I'__m __somewher__e __in-between. _

___Wha__t __i__s __rea__l __an__d __jus__t __a __dream?_

WE HOVER ABOVE QUINN'S BED. PUCK SLEEPS SOUNDLY. SHE'S ON HER BACK STARING UP AT US, A SINGLE TEAR RUNNING DOWN HER BEAUTIFUL FACE.

**LIFEHOUSE (cont'd)**

_What is real and just a dream?_

AND WE FLOAT BACK, BACK, INTO THE CEILING AND DARKNESS. MORE DARKNESS.

THEN WE COME FORWARD AGAIN, NOW ABOVE RACHEL'S BED. THE SAME TABLEAU. FINN FAST ASLEEP. RACHEL AWAKE, HER EYES ON US.

SHE'S CRYING TOO.

**LIFEHOUSE (cont'd)**

_What is real and just a dream?_

**COMMERCIAL BREAK:**

**.**

**.**


	11. Torn Asunder

**ACT 6 SCENE 37**

**INT. THE LIMA BEAN**

THE NEXT MORNING.

KURT AND RACHEL HAVE JUST RECEIVED THEIR COFFEES, SETTLE DOWN AT A TABLE. KURT TAKES A RATHER DISPARAGING LOOK AROUND.

**KURT**

Not quite Ninth Street Espresso, is it?

**RACHEL**

Not quite, no.

**KURT**

Still... I bet you could use the caffeine.

**RACHEL**

Why?

KURT JUST WIGGLES HIS EYEBROWS.

**RACHEL (cont'd)**

What is that? Eyebrow Morse code?

**KURT**

No. I'm just saying... GleeksOnline was abuzz with the fact that my brother was seen going into your room last night, and only leaving just before dawn.

**RACHEL**

What?

(BEAT)

How the hell did you know that?

(BEAT)

And what's GleeksOnline?

**KURT**

Jacob Ben Israel's new blog. He started it for the reunion.

**RACHEL**

I haven't even seen him.

**KURT**

Oh, he's a hermit now. Hardly sees people.

**RACHEL**

But he managed to keep track of who's going into my room?

**KURT**

And coming out of it.

**RACHEL**

Kurt!

**KURT**

It's a motel, Rachel! They have cameras.

(BEAT)

Although, I think he installed them after you confirmed you'd be staying there.

**RACHEL**

That is just... so... EW!

**KURT**

So...? Spill, Soap Dish!

**RACHEL**

No.

**KURT **

No?

**RACHEL **

No.

**KURT**

You can't say no over our traditional morning coffee! We've been doing this for the better part of a decade!

**RACHEL**

You're just going to judge me.

**KURT**

What else is new?

**RACHEL**

Do we have to talk about this?

**KURT**

It's you and Finn. You were going to marry him.

**RACHEL**

But I didn't.

**KURT**

But you were going to.

**RACHEL**

It just happened, okay?

**KURT**

No, it didn't.

**RACHEL**

How do you know?

**KURT**

Because that's not possible. Not the two of you. Not with Quinn here.

**RACHEL**

(LOOKS AWAY)

Quinn has nothing to do with this.

**KURT**

(TRIUMPHANT SMILE)

Ah, so now we come to the real reason.

**CUT TO:**

**.**

**.**

**ACT 6, SCENE 38**

**EXT. LAKESIDE**

IT'S A BEAUTIFUL MORNING, WITH THE BARELY WOKEN SUN TURNING THE SURFACE OF THE LAKE INTO A SPARKLING MIRROR.

SANTANA AND QUINN ARE JOGGING ALONG A PATH POPULATED BY DUCKS AND FISHERMEN, NEITHER OF WHOM PAY THE GIRLS MUCH ATTENTION. THE FISHERMEN - EVEN THOUGH THE GIRLS ARE WEARING TINY SHORTS AND TIGHT WORKOUT TOPS.

SANTANA'S SEVERAL LENGTHS AHEAD. SHE GLANCES OVER, SPOTS QUINN STARTING TO STRUGGLE BEHIND HER AND SLOWS TO A WALK. QUINN SLOWS TOO, AND EVENTUALLY THEY COME TO A STOP. QUINN PLANTS HER HANDS ON HER KNEES, HEAVING FOR BREATH.

**SANTANA**

What's the matter? Can't keep up?

**QUINN**

(POINTS AT SANTANA, HUFFS)

Professional athlete...

(POINTS AT HERSELF, PUFFS)

Journalist...

(HUFF)

So...

(PUFF)

...shut...

(HUFF AND PUFF)

...up.

SANTANA LAUGHS.

**SANTANA**

Come on.

SHE LEADS QUINN TO A VACANT BENCH AND SITS DOWN. WHEN QUINN MAKES TO SIT DOWN BESIDE HER:

**SANTANA (cont'd)**

No.

SHE MAKES A 'GIMME' GESTURE. QUINN ROLLS HER EYES, STEPS BACK, AND PLANTS ONE LEG IN BETWEEN SANTANA'S LEGS. SANTANA STARTS GIVING HER A RUBDOWN TO EASE THE MUSCLES.

**SANTANA (cont'd)**

So, you gonna give me the real story, or not?

**QUINN**

About what?

**SANTANA**

What's going on with you. Why are you here with Puck?

**QUINN**

I'm not gonna go over this again.

**SANTANA**

I saw the look on your face when Finn and Rachel were singing yesterday.

**QUINN**

I always look nauseous when they sing.

**SANTANA**

That wasn't nausea.

**QUINN**

Then what was it?

**SANTANA**

Jealousy.

**QUINN**

Oh, please!

**SANTANA**

Other leg.

QUINN SWITCHES LEGS.

**SANTANA (cont'd)**

You screwed it up.

**QUINN**

What?

**SANTANA**

I was so proud of you.

**QUINN**

Why?

**SANTANA**

I thought... finally... that smile of yours wouldn't be fake.

**QUINN**

What is this? Obscurity Day?

**SANTANA**

End of senior year. You and Rachel going off to New York. I really thought that was it. That you were gonna make it.

**QUINN**

Yeah, well, sometimes things don't work out.

**SANTANA**

And that's an excuse for going back to Puck?

**QUINN**

(PULLS HER LEG BACK)

Give it a rest, Santana!

QUINN SETS OFF DOWN THE PATH AGAIN AT AN ANGRY WALK. SANTANA WATCHES HER FOR A MOMENT, THEN GETS UP AND FOLLOWS.

**QUINN (cont'd)**

You did this back then too! You just had to interfere! Install yourself as my love-guru, or something! You just couldn't leave well enough alone!

**SANTANA**

Was I wrong?

**QUINN**

Back then?

**SANTANA**

Yeah. Do you regret you and Rachel?

**CUT TO:**

**.**

**.**

**ACT 6, SCENE 39**

**INT. THE LIMA BEAN**

**RACHEL**

It's my one big regret.

**KURT**

Washington Square Park?

**RACHEL**

(NODS)

We'd been fighting.

(BEAT)

A lot.

(SAD CHUCKLE)

It was so stupid. I'd just been cast in the revival of _Spring __Awakening__,_you remember?

**KURT**

Remember? You won the Tony for your portrayal of Wendla.

**RACHEL**

(SUDDEN GRIN)

I know. Any excuse to bring that up.

**KURT**

Focus.

**RACHEL**

Anyway, I knew this was my big break. Somehow... I just knew it. But then Quinn got that offer from the San Francisco Chronicle.

**KURT**

I thought she loved the New York Times.

**RACHEL**

She did. But the feature editor position was too good to resist. Plus, she'd been doing all that charity work for the _Bor__n __Thi__s __Way _Foundation,and that's in California, so...

**KURT**

She asked you to go with her.

(NODS)

**RACHEL**

She brought up Yale. How she gave that up to follow me to Broadway.

**KURT**

Ouch.

**RACHEL**

We fought about it for weeks. Eventually, Fall was approaching and the casting director needed my answer.

(BEAT)

And I turned it down.

**KURT**

What?

**CUT TO:**

**.**

**.**

**ACT 6, SCENE 40**

**EXT. LAKESIDE**

**QUINN**

She decided to come with me.

**SANTANA**

Wait, we're still talking about Rachel, right? Rachel Berry? The Broadway nutjob who had that stupid _Evit__a _ringtone for as long as we knew her?

**QUINN**

We were in love, Santana. We were talking about getting married.

**SANTANA**

Okay, this is making less and less sense. If she was going to go with you, and already turned the part down... what happened?

**QUINN**

We were gonna leave the 1st of September. So the day before - the last day of summer - we had a picnic in the shadow of the arch stretching across Fifth Avenue. It was supposed to be our goodbye to New York.

**SANTANA**

But instead it was just your goodbye-

**QUINN**

-to each other.

**CUT TO:**

**.**

**.**

**ACT 6, SCENE 41**

**INT. THE LIMA BEAN**

**RACHEL**

It was all my fault. I wasn't in the best of moods. Quinn kept trying to tell me that I'd be the Queen of the San Francisco stage.

**KURT**

I thought San Francisco queens...

**RACHEL**

(HOLDS UP A HAND)

I made the same joke.

(BEAT)

But she just couldn't make me feel better. And she tried. So hard. She... she bought me a balloon. Told me it represented our old life. The hopes and dreams we used to have - but also all the disappointments and regrets. The burdens that weigh us down.

(BEAT)

And then she told me to just let it go.

**KURT**

That's beautiful.

**CUT TO:**

**.**

**.**

**ACT 6, SCENE 42**

**EXT. LAKESIDE**

**QUINN**

I can still see it.

(CASTS HER EYES UP TO THE SKY)

This blood red balloon cutting the sky between those buildings - looming over us like giants.

**SANTANA**

What happened then?

**QUINN**

She started singing. The song that was playing the first night we went out.

(BEAT)

_Kiss Me._

**CUT TO:**

**.**

**.**

**ACT 6, SCENE 43**

**INT. THE LIMA BEAN**

**RACHEL**

So I kissed her.

(BEAT)

It was our last kiss.

**KURT**

Why?

**RACHEL**

Because the song ended.

(BEAT)

That night - that first date - I asked her what was going to happen to us. She told me not to worry about it. That we were just two people. And we were just dancing.

(BEAT)

But I was scared of what would happen when the music stopped.

(BEAT)

And she told me we'd pretend it never did.

**KURT**

It's hard to live your life pretending.

**RACHEL**

That's what I said. I told her we couldn't pretend anymore. The music had stopped. That the only reason we were even together was because we were both pretending.

**KURT**

Rachel...

**RACHEL **

I know.

**KURT**

That was a horrible thing to say.

**RACHEL**

_I know!_

(BEAT)

I don't know why I said it. I didn't mean it. I could see by the look on her face how much I hurt her. I wanted to take it back. I wanted to make it okay, but...

**CUT TO:**

**.**

**.**

**ACT 6, SCENE 44**

**EXT. LAKESIDE**

**QUINN**

I just left. I couldn't look at her for another second.

(BEAT)

I mean, I knew she didn't mean it. I knew she wasn't pretending. You don't fake what we had. But it's like she said it just to hurt me. And I realised...

SHE TRAILS OFF.

**SANTANA**

What?

**QUINN**

I realised that she would never be okay with this. That... we'd hit that point of no return. My destiny was on the west coast. Her dreams were in the east. There was no changing that.

**SANTANA**

Did you ever see her again? Before now?

**QUINN**

Once.

(BEAT)

Shelby called me to tell me that Beth was sick. She was in the hospital. I flew in, and I stood watch by the window to the NICU all night.

(BEAT)

Somewhere around midnight... Rachel was there.

**CUT TO:**

**.**

**.**

**ACT 6, SCENE 45**

**INT. THE LIMA BEAN**

**RACHEL**

We didn't say a word. I held her hand and she let me. We stood there for seven hours, until a doctor told us that Beth would be okay, and they were discharging her.

**KURT**

And then?

**CUT TO:**

**.**

**.**

**ACT 6, SCENE 46**

**EXT. LAKESIDE**

**QUINN**

She just left. No tears, no goodbyes. Just, one minute she was there, and the next...

QUINN JUST STOPS. SHE WIPES A STRAY TEAR, STARING OUT OVER THE LAKE. SANTANA IS QUIET, CONTEMPLATIVE FOR A FEW MOMENTS.

**SANTANA**

What about now?

**QUINN**

(MIND SOMEWHERE ELSE)

I'm sorry?

**SANTANA**

What about now?

(BEAT)

You have another chance.

**QUINN**

I don't think so.

**SANTANA**

Why not?

**QUINN**

We were... together... yesterday. When you guys went over to Coach Sylvester's.

**SANTANA**

Get out!

(WHEN QUINN JUST GIVES HER A LOOK)

Slut!

**QUINN**

And afterward, I was so happy. I felt whole again for the first time in years, but...

**SANTANA**

No! No! No buts! What the hell's the matter with you?

**QUINN**

I couldn't let it go. I couldn't forget what she did to me. And I wanted to hurt her. Just like she hurt me, so...

**CUT TO:**

**.**

**.**

**ACT 6, SCENE 47**

**INT. THE LIMA BEAN**

**RACHEL**

I had to get away. I almost ran Finn over in my car. And...

**KURT**

(FULL OF ACTUAL SYMPATHY)

Oh, Rachel...

**RACHEL**

He loves me, Kurt. He really does.

**KURT**

And do you love him?

**RACHEL**

Of course.

**KURT**

The same way you love Quinn?

RACHEL DROPS HER GAZE, FINISHES HER COFFEE, REFUSING TO ANSWER.

**KURT (cont'd)**

You have to tell him, Rachel. You have to. You owe him that much.

**RACHEL**

How can I? It'll crush him! I did that to him once, I can't do it again!

**KURT**

I don't think you're giving him enough credit.

(BEAT)

In fact, I don't think you know Finn at all.

**RACHEL**

He said the same thing.

**KURT**

Because it's true.

(BEAT)

Do you know why he sang that song, senior year? Do you know why he made you go to Quinn?

(WHEN RACHEL SHAKES HER HEAD)

Because the only thing he's ever wanted is your happiness.

RACHEL TAKES THIS IN... HER HEART HEAVY, AND TORN.

**CUT TO:**

**.**

**.**


	12. The Inner Rockstar

**ACT 6, SCENE 48**

**INT. WILLIAM MCKINLEY HIGH, GYMNASIUM**

FINN IS SUPERVISING A TEAM OF STUDENTS AS THEY SET UP THE GYM FOR THE NIGHT. THEY'RE PUTTING UP TABLES, UNFOLDING CHAIRS AND CONSTRUCTING THE STAGE.

**FINN**

Tom! Tommy, stop eating the glue!

SHEEPISH STUDENT PUTS A TUB OF GLUE DOWN. HE GIVES FINN A HANGDOG LOOK, HIS FINGER SLOWLY INCHING BACK TOWARD THE TUB. FINN RAISES A WARNING FINGER. THE KID PULLS HIS HAND AWAY. OVER ABOVE, MR. SCHUESTER ENTERS.

**WILL**

How's it going?

**FINN**

We'll be ready, Mr. Schu. No worries.

**WILL**

What about the Glee club? They ready?

**FINN**

Which one?

**WILL**

(SMILES)

Both.

**FINN**

My kids are ready. The others...

FINN SIGHS AND SHRUGS.

**WILL**

Let me guess... Rachel's hogging all the solos. Mercedes is pointing to the reasonable fact that she's a Grammy-winning artist, and Kurt's convinced he can sing better than both of them.

**FINN**

You know what they say, Mr. Schu. It's just a little case of history repeating.

WILL CHUCKLES. SUE ENTERS.

**SUE **

Ladies.

**WILL**

Hey, Sue.

FINN NODS A GREETING.

**SUE**

So, I just heard something disturbing. We're going to have to up security tonight.

**WILL**

Security? Why?

**SUE**

Well, it seems a phalanx of rabid fans have infested the Bingo-Bango Motor Home and Caravan Park. Much the same way the Mozambican super locust infested the ship of one Amerigo de Vespucci in 1487, just before his voyage to discover America.

**FINN**

Mr. Schu, what's a phalanx?

**SUE**

Now, forgetting the fact that motor homes and caravans are the same thing - you can't hold it against trailer trash that they don't know what redundancy is - you, as the history teacher, Will, are sure to remember that it was those locusts that chewed through the hull of the Mayflower when it arrived at Plymouth Rock, causing it to capsize, and everyone to fall in the water.

(BEAT)

If they hadn't, the pilgrims wouldn't have had colds, and the friendly Indians who helped them wouldn't have been wiped from the surface of the earth. In fact, the entire history of America would have been changed, and I would be able to use my given name - since I am one-sixteenth Comanche Indian. Do you know what it is?

**WILL**

I can't even begin to guess.

**SUE**

Hiccuping Caterpillar.

**FINN**

Is any of that true?

**WILL**

No.

**SUE **

All of it.

**FINN**

So there are fans in town?

**SUE**

You managed to follow the gist of the story. Well done, Chewbacca.

(BEAT)

Yes, there are fans in town. It seems they're split into four camps. The followers of Mrs. Mercedes Evans - who call themselves S-Class Chicks. I can't even begin to guess what that means.

**WILL**

It's a type of car that-

**SUE**

(CARRIES ON AS IF HE HADN'T INTERRUPTED)

Then there are the followers of our very own Wheels Abrahams. These fans are mostly middle-aged, with pot-bellies, and I have it on good authority that every single one of them still possesses a classic X-Box Kinect console. Nerds, I believe they're called.

(BEAT)

Most of them can currently be found occupying the parking lot at Wendy's.

**WILL**

And the other two?

**SUE**

Most interesting is this next group. They've been most successful at recruiting residents of the town into their ranks.

**FINN**

People who live here? Who-?

**SUE**

It seems not much has changed, and Noah Puckerman still attracts a certain kind of lady.

**FINN**

Ah! The bangin' MILF.

**SUE**

Mr. Hudson, I find that term offensive.

(BEAT)

Not all these women have children. If anything, they're cougars.

**FINN**

Sorry.

**SUE**

Last, but most certainly not least - are your girlfriend's fans, Chunky.

**FINN**

My girlfriend? What-?

**SUE**

Oh, please! A dyslexic freshman told me this morning that you slept with Rachel last night.

**WILL**

You slept with Rachel?

**FINN**

I... we... wha...?

**SUE**

That was my precise reaction to the news. You do a remarkable Sue impression.

**WILL**

Finn, are you sure that was a good idea?

**FINN**

Not now, Mr. Schu, please.

**SUE**

I agree. Any further details on Frankenstein making love to Esmerelda from the _Hunchbac__k __of __Notr__e __Dam__e _is sure to make me get reacquainted with my lunch.

(BEAT)

Though, I have to say, Sasquatch, her fans seem to be the most well-behaved of the lot.

**FINN**

They are?

**SUE**

They've already set up several fruit juice stations and a medical tent. The United States Army could use more Rachel Berry fans.

**FINN**

Is this going to be trouble?

**SUE**

I've already informed the police, and they'll let the various factions know that tonight's performance will be a private affair and they are to disperse in an orderly fashion. If they resist, I'll have no choice but to call in the National Guard.

**WILL**

The National Guard? Sue!

**SUE**

Needs must sometimes, William. We can't have a repeat of the Justin Bieber experience, now can we?

**WILL**

(SHUDDERS)

No.

**SUE**

Very well, then. Just wanted to keep you informed.

PUNCHING THEM BOTH ON THE ARM AND MAKING THEM WINCE, SUE HEADS OFF.

**WILL**

So... Rachel? Again?

FINN DOESN'T RESPOND - WATCHES THE KIDS SETTING UP THE STAGE.

**WILL (cont'd)**

Finn...

**FINN**

It's not Rachel _agai__n_, Mr. Schu.

(BEAT)

It's Rachel always.

HE HEADS OFF. WILL LOOKS WORRIED.

**CUT TO:**

**.**

**.**

**ACT 6, SCENE 49**

**EXT. HILL OVERLOOKING BINGO-BANGO**

FORCED PERSPECTIVE - LOOKING THROUGH BINOCULARS - TIGHT ON A MASSIVE CROWD OF PEOPLE. THEY'RE DRIFTING BETWEEN SLIP-SHOD TEMPORARY FOOD STANDS AND MUCH STURDIER BEER TENTS. LOTS HAVE PLAIN WHITE T'S WITH EITHER 'TEAM RACHEL', 'TEAM MERCEDES' OR 'TEAM PUCK' WRITTEN ON THEM.

PULL BACK, REVEALING ARTIE, PUCK, RORY, MIKE, SAM, BLAINE AND KURT STANDING OUTSIDE FINN'S VAN ON A HIGH HILL LOOKING DOWN ON THE CARAVAN PARK. ARTIE'S GOT THE BINOCULARS.

**ARTIE**

This is insanity.

**PUCK**

Awesome insanity.

**ARTIE**

No such thing.

**KURT**

Artie's right. It's never gonna work.

**BLAINE**

Come on. Where's your sense of adventure?

**PUCK**

Thank you, Blaine, for being the only dude here with a set of balls.

**RORY**

Hey! I'm down with it.

**KURT**

You shouldn't say _dow__n __wit__h __i__t _in that accent.

**RORY**

And you shouldn't wear thigh-length sweater vests, so I guess we're all disappointed.

**MIKE**

Are we sure Coach Sylvester won't miss the equipment?

**SAM**

If she does, I got dibs on a spot in Artie's chopper outta town.

**PUCK**

Would you guys stop worrying? This is gonna be great.

**ARTIE**

You always say that. Right before we wake up in some dumpster in Connecticut.

**PUCK**

That happened two times!

(BEAT)

Don't you wanna know what it feels like to be a rock star?

**SAM**

Yeah!

**BLAINE**

Let's do this!

**PUCK**

Alright!

MIKE HELPS PUCK LOAD ARTIE IN BACK, THEN THEY ALL PILE INTO THE VAN. SAM GETS BEHIND THE WHEEL AND STARTS THE ENGINE.

THEY TRAWL DOWN THE HILL TOWARDS THE WIRE FENCE BORDERING THE PARK, AND PULL UP ALONGSIDE IT.

**PUCK (cont'd)**

Right here. Next to the outlet.

SAM KILLS THE ENGINE AND THEY PILE OUT. ARTIE STAYS WHERE HE IS.

**PUCK (cont'd)**

(TO ARTIE)

You control the sound from here.

**ARTIE**

Got it.

THE GUYS RUN A LONG CORD LEADING FROM THE MASS OF STEREO EQUIPMENT LOADED IN THE BACK OF THE VAN TO THE COMMUNAL POWER OUTLET SET INTO THE FENCE POST. THEN MIKE AND PUCK PASS MIC STANDS UP ONTO THE ROOF WHERE BLAINE, KURT, SAM AND RORY ASSEMBLE THEM. FINALLY, THE MICS AND INSTRUMENTS THEMSELVES GO UP, BEFORE PUCK AND MIKE JOIN THE OTHERS ON THE ROOF.

**PUCK**

(INTO HIS MIC)

Testing... testing...

THERE'S A LITTLE FEEDBACK, WHICH ARTIE QUICKLY ADJUSTS, AND SOON PUCK'S VOICE IS BOOMING OUT ACROSS THE FIELD.

**PUCK (cont'd)**

Hello, visitors to Ohio!

THE CROWD ON THE OTHER SIDE OF THE FENCE TURN THIS WAY AND THAT, TRYING TO LOCATE THE SOURCE OF THE VOICE. THEN THEY START DRIFTING OVER.

**PUCK (cont'd)**

Welcome to Lima, my home town! I am Noah Puckerman!

SUDDENLY, THERE'S A SERIES OF EAR-SPLITTING SCREAMS IN THE CROWD, AND A MULTITUDE OF WOMEN, NONE YOUNGER THAN 35, START RUSHING FORWARD UNTIL THEY'RE PRESSED RIGHT UP AGAINST THE FENCE. SOME ARE ALREADY UNCLIPPING THEIR BRAS EN ROUTE.

**PUC****K****(cont'****d****) **

Unfortunately, the town's declared that you guys won't be able to come to the show at the school tonight...

BOOS FROM THE CROWD.

**PUCK (cont'd)**

But we thought, since you guys came all the way here, we'd give you a little impromptu show right now!

CHEERS FROM THE CROWD. MIKE LEANS OVER, COVERING THE MICROPHONE WITH HIS HAND.

**MIKE**

Where'd you learn the word _impromptu?_

**PUCK**

(IGNORES HIM, TO CROWD)

I wanna hear y'all show some love for my pals from New Directions!

(CHEERS)

The Asian Sensation - straight from Carnegie Hall, Mr. Mike Chang!

(CHEERS)

And from someplace far away where they speak funny-

**RORY**

Ireland, you twit!

**PUCK**

Rory Flanagan!

(CHEERS)

The man better known as Mr. Mercedes Jones-

**SAM**

Oh, come on!

**PUCK**

Sam Evans!

(CHEERS)

Mr. - or Mrs - Broadway himself - or herself...

**KURT**

Don't push it, Puckerman!

**PUCK**

Kurt Hummel!

(CHEERS)

And his better half-

**BLAINE**

Damn straight!

**PUCK**

Blaine Anderson!

(CHEERS)

In back is the guy who royally screwed up _Sta__r __Tre__k __3-_

**ARTIE**

Hey!

**PUCK**

Artie Abrahams!

(CHEERS - SPRINKLED WITH BOOS)

I'm The Puckmeister, and we just wanna say-

**GUYS**

Welcome to Ohio!

THE CROWD GOES - LITERALLY - CRAZY AS THE SYNTHESIZER MUSIC KICKS IN.

**GUYS (cont'd)**

_We built this city..._

_We built this city on Rock & Roll!_

_Built this city..._

_We built this city on Rock & Roll!_

NOW THE DRUMS AND THE GUITARS. IN SECONDS, THE CROWD IS ROCKING. THE GUYS ARE GYRATING.

**PUCK**

_Say you don't know me,_

_Or recognise my face._

_Say you don't care who goes,_

_To that kinda place._

**SAM**

_Knee deep in the hooplah,_

_Sinking in your fight._

_To__o __man__y __runaways, _

_Eatin__g __u__p __th__e __night!_

**MIKE**

_Yeah, Artie plays the mamba!_

_Listen to the radio._

_Don't you remember?_

_We built this city..._

_We built this city on Rock & Roll!_

**GUYS**

_We built this city..._

_We built this city on Rock & Roll!_

_Built this city..._

_We built this city on Rock & Roll!_

THE GUYS ARE SHAKING THAT VAN - REALLY GIVIN' 'EM A SHOW!

**KURT**

_Someone always playing,_

_Corporation games._

_Who cares, they're always changing,_

_Corporation names._

**BLAINE**

_We just want to dance here,_

_Someone stole the stage._

_They call us irresponsible,_

_Write us off the page!_

**RORY**

_Yeah, Artie plays the mamba!_

_Listen to the radio._

_Don't you remember?_

_We built this city..._

_We built this city on Rock & Roll!_

**GUYS**

_We built this city..._

_We built this city on Rock & Roll!_

_Built this city..._

_We built this city on Rock & Roll!_

SOME WOMEN AND A COUPLE OF GUYS ARE NOW CLAMBERING OVER THE FENCE. THE GUYS START TO LOOK WORRIED, BUT HEY... THE SHOW MUST...

**GUYS (cont'd)**

_We built this city..._

_We built this city on Rock & Roll!_

_Built this city..._

_We built this city on Rock & Roll!_

ONE WOMAN WHO LOOKS LIKE LAUREN ZIZES' TWIN - WEARING A RATHER STRETCHED 'MAD FOR MOHAWKS' T-SHIRT MAKES IT TO THE VAN. PUCK TAKES A KNEE, REACHES DOWN AND TAKES HER HAND, SINGING TO HER.

**PUCK**

_It's just another Sunday,_

_In a tired old street._

_Police have got the chokehold,_

_But we just lost the beat..._

HE DRAWS OUT THE LAST NOTE AND THE GIRL FAINTS DEAD AWAY. MORE HAVE MADE IT OVER NOW, AND SURROUND THE VAN LIKE A MOB OF MUSICALLY-INCLINED ZOMBIES. ARTIE LOOKS PANCIKED, SHOUTS UP:

**ARTIE**

Guys! We're in trouble here!

**PUCK**

Doesn't matter! Keep playing! Always keep playing!

**MIKE**

_Who counts the money,_

_Underneath the bar?_

_Who rides the wrecking balls,_

_Into our guitars?_

**SAM**

_Don't tell us you need us,_

_Coz we're the ship of fools._

**KURT & BLAINE**

_Looking for America,_

_Calling through your schools!_

ARTIE GRABS A MIC, SHOVES A FAN'S FACE OUT OF THE WAY, AND:

**ARTIE**

_Here we are in Middle America, it's __fat-bottom to fat-bottom girls all __around!_

PANDEMONIUM.

**RORY**

_Don't you remember...?_

**ARTIE**

_It's your favourite band in your __favourite city - the city that __taught the world how to glee - the __city that rocks the moon - __the city that never dies!_

**RORY**

_Yeah, Artie plays the mamba!_

_Listen to the radio._

_Don't you remember?_

_We built this city..._

_We built this city on Rock & Roll!_

**GUYS**

_We built this city..._

_We built this city on Rock & Roll!_

_Built this city..._

_We built this city on Rock & Roll!_

_Built this city..._

_We built this city on Rock & Roll!_

_Built this city..._

_We built this city on Rock & Roll!_

_Built this city..._

_We built this city on Rock & Roll!_

WE PULL UP - HOVERING HIGH OVER A CROWD PRESSING IN ON ALL SIDES - AND IN THE CENTRE OF IT ALL - LIKE A SMALL ISLAND - OUR BOYS BEING PURE ROCK STARS.

**COMMERCIAL BREAK:**

**.**

**.**


	13. One More Try

**ACT 7, SCENE 50**

**INT. WILLIAM MCKINLEY HIGH, GYMNASIUM**

A SERIES OF SNAPSHOTS: EVIDENTLY TAKEN BY THE PHOTOGRAPHER HIRED FOR THE DANCE.

BRITTANY AND SANTANA - IN LAVENDER GOWNS, BRITTANY STICKING HER TONGUE OUT AND SANTANA ROLLING HER EYES.

MERCEDES AND SAM - HE IN A PURPLE SUIT AND HER IN A RED, CORSETED GOWN - BOTH GRINNING SO WIDE.

PUCK AND QUINN - HE'S DRESSED LIKE DON JOHNSON IN MIAMI VICE, AND SHE'S WEARING BLACK, WITH A SPLIT REVEALING SO MUCH LEG.

ARTIE AND SUGAR - HIS SUIT IS GOLD - NO LIE. SHE'S WEARING BURGUNDY, SITTING IN HIS LAP.

MIKE AND TINA - MIKE'S IN ALL-WHITE, TINA IN ALL-BLACK, WITH STRAPPY SCARVES COVERING HER ARMS, STRIKING 'TAKE THAT' POSES.

RORY AND BECKY - SHE'S WEARING A VIOLET DRESS, AND HE'S WEARING RED. BOTH PULLING FUNNY FACES.

BLAINE AND KURT - IN MATCHING SOFT CREAM SUITS, HERO POSES, BACK TO BACK, CHESTS PUFFED OUT, THUMBS HOOKED IN LAPELS.

RACHEL AND FINN - HE DAPPER IN BLUE, HER STUNNING IN PINK. HE'S STANDING BEHIND HER, ARMS FOLDED ON TOP OF HER HEAD, RESTING HIS CHIN.

THE DANCE IS SWINGING. THE MCKINLEY HIGH GLEE CLUB HAS THE CROWD GOING.

**GLEE CLUB**

_So no one told you life was gonna __be this way._

_Your job's a joke, you're broke, __your lovelife's DOA._

_It's like you're always stuck in __second gear._

_Oh, when it hasn't been your day, __your week, your month, or even your __year, but..._

THE NEW DIRECTIONS ARE CROWDED AROUND THE STAGE LIKE GROUPIES, ALL OF THEM SINGING ALONG.

**GLEE CLUB (cont'd)**

_I'll be there for you._

_When the rain starts to pour._

_I'll be there for you._

_Like I've been there before._

_I'll be there for you._

_Coz you're there for me too._

ON IMPULSE, STEVEN AND MICHAEL LEAP OFF THE STAGE WITH THEIR MICROPHONES, ENCOURAGING THE NEW DIRECTIONS ALUMS TO HELP OUT WITH LEAD VOCALS.

**GLE****E****CLU****B****(cont'****d****) **

_You'r__e __stil__l __i__n __be__d __a__t __10__, __a__t __work agai__n __a__t __8._

_You burned your breakfast, so far things are going great._

_Your mother warned you there'd be days like these._

_But she didn't tell you when the world has brought you down to your knees, and..._

_I'll be there for you._

_When the rain starts to pour._

_I'll be there for you._

_Like I've been there before._

_I'll be there for you._

_Coz you're there for me too._

STEVEN SHOVES THE MICROPHONE INTO FINN'S HAND, GESTURING FOR HIM TO TAKE IT HOME. FINN GRINS, TAKES RACHEL'S HAND, AND SINGS TO HER.

**FINN**

_No one could ever know me._

_No one could ever see me._

_Since you're the only one who __knows,_

_What it's like to be me._

GRINNING, RACHEL STARTS SINGING ALONG.

**FINN & RACHEL**

_Someone to face the day with._

_Make it through all the mess with._

_Someone I'll always laugh with._

_Even at my worst, my best is you... __yeah!_

QUINN, UNABLE TO WATCH ANYMORE, TURNS AND HEADS FOR THE DOOR. PUCK WHIRLS ROUND, GRABS HER HAND.

**PUCK**

Where are you going?

**QUINN**

The bathroom.

SHE SLIPS OUT OF HIS GRASP. PUCK GRINDS HIS TEETH. SANTANA WATCHES THE EXCHANGE WITH A CURIOUS EXPRESSION ON HER FACE.

**GLEE CLUB**

_It's like you're always stuck in __second gear._

_Oh, when it hasn't been your day, your week, your month, or even your year._

_I'll be there for you._

_When the rain starts to pour._

_I'll be there for you._

_Like I've been there before._

_I'll be there for you._

_Coz you're there for me too._

HOOTS AND CAT-CALLS AS THE BAND FINISHES WITH A FLOURISH. APPLAUDING AS HARD AS THE REST, A BEAMING MR. SCHUESTER TAKES THE STAGE. HE STEPS UP TO THE - NOW-RESTORED - MICROPHONE.

**WILL**

Alright! Give it up for the McKinley Sound Machine!

WILD APPLAUSE AS THE NEW GLEE KIDS TAKE THEIR BOWS, AND TROOP OFF STAGE.

**WILL (cont'd)**

Now, you all know we're not only celebrating the Titans epic win against Marshal this afternoon...!

LOUDEST CHEER OF THE NIGHT. WILL LAUGHS AND APPLAUDS.

**WILL (cont'd)**

We're also here to welcome back the New Directions - on the tenth anniversary of the day the club was formed.

(BEAT)

A lot of you kids don't know this, but... I almost quit the school - and teaching altogether - in 2009.

**VOICE IN THE CROWD**

Oh, so close!

CROWD LAUGHS. WILL CHUCKLES GOOD-NATUREDLY.

**WILL**

What saved me from making what would have been the biggest mistake of my life... were these guys. I was almost literally out the door, when I heard them singing in the auditorium. I went in, and what I saw there that day... was hope.

(BEAT)

That different kids with different dreams could come together to make music - and as a result, make all our lives better. I wanna thank you guys for giving me that gift.

**SANTANA**

We love you, Mr. Schu!

**WILL**

I love you too.

(BEAT)

Now, Finn tells me the five original members are gonna perform for us, so... McKinley High, for the first time in seven years, let's hear it for the New Directions!

MORE APPLAUSE AS FINN, RACHEL, KURT, MERCEDES AND TINA TAKE THE STAGE. THEY ALL LOOK SURPRISINGLY NERVOUS. BUT ONCE SETTLED, THEY SMILE AT EACH OTHER, AND SUDDENLY IT'S 2009 AGAIN. AND THEY'RE BACK WHERE THEY BELONG.

**FINN**

_It was 1989, my thoughts were __short, my hair was long._

_Caught somewhere between a boy and __man._

(A SMILE FOR RACHEL)

_She was 17 and she was far from in __between._

_It was summer time in northern __Michigan._

**KIDS**

You go, Mr. H!

**MERCEDES & TINA & KURT & RACHEL**

La, la, la...

La, la, la...

**FINN**

_Splashing through the sandbar._

_Talking by the campfire,_

_It's the simple things in life,_

_Like when and where._

_We didn't have no internet,_

_But man, I never will forget,_

_The way the moonlight shined upon __her hair._

**CUT TO:**

**.**

**.**

**ACT 7, SCENE 51**

**INT. WILLIAM MCKINLEY HIGH, GIRLS' BATHROOM**

QUINN IS STANDING AT THE SINK, LEANING ON IT FOR SUPPORT, AND ONE HAND COVERING HER MOUTH AS SHE SOBS, DESPERATELY.

**GROUP**

_And we were trying different __things,_

_And we were smoking funny things._

_Making love out by the lake to our __favourite song._

_Sipping whiskey out the bottle,_

_Not thinking 'bout tomorrow._

_Singing Sweet Home Alabama all __summer long._

_Singing Sweet Home Alabama all __summer long._

**QUINN**

No.

(BEAT)

No, Quinn, don't do this.

SHE TAKES A DEEP BREATH, LOOKS UP TO CATCH HER REFLECTION IN THE MIRROR. AND SEES PUCK IN THE DOORWAY BEHIND HER.

**CUT TO:**

**.**

**.**

**ACT 7, SCENE 52**

**INT. WILLIAM MCKINLEY HIGH, GYMNASIUM**

THEY'VE GOT THE CROWD DANCING.

**FINN**

_Now nothing seems as strange,_

_As when the leaves began to change,_

_Or how we thought those days would __never end._

FINN TURNS TO RACHEL, SWAYING IN THE BACKGROUND, AND ALMOST FALTERS FOR A SECOND. SHE'S BREATHTAKING.

**FIN****N****(cont'****d****) **

_Sometime__s __I __hea__r __tha__t __song__, __and I'l__l __star__t __t__o __sin__g __along,_

_And think, man I'd love to see that girl again._

**GROUP**

_And we were trying different __things,_

_And we were smoking funny things._

_Making love out by the lake to our __favourite song._

_Sipping whiskey out the bottle,_

_Not thinking 'bout tomorrow._

_Singing Sweet Home Alabama all __summer long._

_And we were trying different __things,_

_And we were smoking funny things._

_Making love out by the lake to our __favourite song._

_Sipping whiskey out the bottle,_

_Not thinking 'bout tomorrow._

_Singing Sweet Home Alabama all __summer long._

_Singing Sweet Home Alabama all __summer long._

_Singing Sweet Home Alabama all __summer long._

_Singing Sweet Home Alabama all __summer long._

_Singing Sweet Home Alabama all __summer long._

CROWD GOES BANANAS. AND APPLES AND ORANGES AND EVEN KUMQUATS.

**CUT TO:**

**.**

**.**

**ACT 7, SCENE 53**

**INT. WILLIAM MCKINLEY HIGH, GIRLS' BATHROOM / HALLWAY**

QUINN HURRIEDLY TRIES TO FIX HER MAKE-UP. PUCK AFFECTS NOT TO NOTICE.

**PUCK**

You know, I've been thinking a lot about things these past couple days.

(BEAT)

It's making my head hurt.

**QUINN**

Thinking about what?

**PUCK**

You.

(BEAT)

Me.

(BEAT)

Us.

(BEAT)

Home.

**QUINN **

Puck...

**PUCK**

(HOLDS UP A HAND)

Just... let me get through this, okay?

(BEAT)

You and me were never gonna work, Q. I wanted it to.

(BEAT)

Sometimes... I hope you did too.

**QUINN**

I did.

**PUCK**

But it was always just... a dream.

(BEAT)

We gave the world Beth, and she's beyond awesome. Beyond amazing.

(BEAT)

But, I think, she's going to be our story.

**QUINN**

What are you saying? Are you breaking up with me?

**PUCK**

I'm saying, I gotta walk away from this.

**QUINN**

But why? Anything you think is going on, it's not-

**PUCK**

Because if I was in there singing to another girl... you wouldn't take off. You wouldn't come in here and cry your eyes out.

(BEAT)

Would you?

**QUINN**

I'm trying, Puck. God knows, I'm trying.

**PUCK**

Trying's not enough. It never was.

HE TURNS, AND WALKS OUT THE DOOR. WE FOLLOW HIM AS HE HEADS BACK TO THE GYM.

**PUC****K****(cont'****d****)**

_I __tol__d __yo__u __everything, _

_Opene__d __u__p __an__d __le__t __yo__u __in._

_ Yo__u __mad__e __m__e __fee__l __alright, _

_Fo__r __onc__e __i__n __m__y __life._

THEN BACK TO QUINN IN THE BATHROOM, STARING AT HERSELF IN THE MIRROR, AND BARELY RECOGNISING HER OWN FACE.

**QUINN**

_Now all that's left of me,_

_Is what I pretend to be._

_So together, but so broken up __inside._

**QUINN ****& ****PUCK**

_Co__z __I __can'__t __breathe, _

_No__, __I __can'__t __sleep,_

_I'm barely hanging on._

PUCK REACHES THE DOOR TO THE GYM, REACHES UP TO PUSH IT OPEN. AND STOPS. HE HANGS HIS HEAD, SCREWS HIS EYES SHUT, FIGHTING TO HOLD IT TOGETHER.

**PUCK**

_Here I am, once again,_

_I'm torn into pieces._

_Can't deny it, can't pretend,_

_Just thought you were the one._

QUINN LOOKS LIKE SHE'S COMPOSED HERSELF - AND HER FACE IS NOW A BLANK, UNFEELING MASK AS SHE ROBOTICALLY WIPES AWAY THE STREAKS OF MASCARA CUTTING LINES DOWN HER CHEEKS.

**QUINN**

_Broken up, deep inside,_

_But you won't get to see these __tears I cry._

_Behind these hazel eyes._

_Behind these hazel eyes._

**CUT TO:**

**.**

**.**

**ACT 7, SCENE 54**

**INT. WILLIAM MCKINLEY HIGH, GYMNASIUM**

QUINN HAS JUST COME BACK IN - TO FIND EVERYBODY WATCHING FINN UP ON STAGE. SHE'S CONFUSED, GLANCES ROUND AND FINDS RACHEL STANDING OFF TO THE SIDE. QUINN HEADS TOWARDS HER, BUT FALTERS AS SHE TUNES IN TO WHAT FINN'S SAYING.

**FINN**

Rachel... seven years ago, on another stage, I made a promise to love you forever. Hard as I fought it... much as I hated myself for it sometimes... I kept that promise. It's as true today as it was then, so... so I'm going to ask you the same question...

HE REACHES INTO THE INNER POCKET OF HIS JACKET AND PULLS OUT A RING. THE OVERHEAD LIGHTS CATCH THE DIAMOND SETTING AND IT SPARKLES. THE CROWD GOES:

**CROWD**

Oooh...

**FINN**

This is the same ring. I'm asking you to wear it again.

(BEAT)

Rachel Berry... will you marry me?

THE ENTIRE CROWD, LIKE SOMETHING OUT OF _CHILDRE__N __O__F __TH__E __COR__N_, ALL TURN TO RACHEL AT ONCE TO GET HER REACTION.

SHE LOOKS SHOCKED. HER EYES DART BETWEEN AN EARNEST, ALMOST FEARFUL FINN, AND A STUNNED, PAINED QUINN. RACHEL OPENS HER MOUTH TO SPEAK, AND...

NOTHING COMES OUT.

**FINN (cont'd)**

Rachel?

MOVING LIKE SHE'S UNDERWATER, RACHEL TEARS HER EYES AWAY FROM QUINN AND LOOKS AT FINN. SHE'S TREMBLING.

**FINN (cont'd)**

Rachel.

HE JUMPS OFF STAGE. THE CROWD PARTS, ALLOWING HIM A CLEAR PATH TO HER. HE STRIDES FORWARD, LOOKING DETERMINED. BUT THE CLOSER HE GETS, THE MORE HE READS THE TRUTH ON HER FACE - AND HIS STEP FALTERS. UNTIL HE STOPS, JUST A FEW FEET SHY.

HE TURNS ON THE SPOT, AND LOOKS AT QUINN. SHE FLINCHES BACK, EXPECTING ANGER FROM HIM. BUT THERE IS NONE.

THEN, ALMOST CHOREOGRAPHED, THEY BOTH TURN TO RACHEL. AND THE THREE FORM THE POINTS OF A TRIANGLE, SURROUNDED BY A SEA OF CURIOUS FACES.

BUT THEN THE LIGHTS DIM, AND JUST RACHEL, QUINN AND FINN ARE LIT, AS IF BY A MAGIC SPOTLIGHT, EVERYONE ELSE FADING TO NOTHINGNESS.

RACHEL CASTS HER EYES DOWN, HER HAIR HANGING OVER HER FACE. SHE TAKES A DEEP, CALMING BREATH, AND WHEN SHE LOOKS UP AGAIN, QUINN HAS FADED.

SHE'S ALONE WITH FINN.

**RACHEL**

_Remember when we held on in the __rain?_

_The nights we almost lost it._

_Once again, we can take the night __into tomorrow._

_Living our feelings._

_Touching you I feel it all again._

SHE STEPS FORWARD, REACHES UP, AND SOFTLY CARESSES HIS OPEN, HONEST, TRUSTING FACE. AND SHE SINGS HER HEARTBREAK.

**RACHE****L****(cont'****d) **

_Didn'__t __w__e __almos__t __hav__e __i__t __all? _

_Whe__n __lov__e __wa__s __al__l __w__e __ha__d __worth giving._

_The ride with you was worth the fall, my friend._

_Loving you makes life worth living. _

_Didn't we almost have it all?_

_The nights we held on til the morning._

_You know you'll never love that way again._

_Didn't we almost have it all?_

FINN STAGGERS BACKWARDS. RACHEL KEEPS REACHING FOR HIM, BUT HE'S SOON OUT OF TOUCH. HE DROPS THE RING. SLOW-MOTION AS WE FOLLOW IT DOWNWARDS, TIL IT HITS THE FLOOR AND STARTS SPINNING. ROUND AND ROUND, UNTIL IT STOPS.

SWING BACK UP, AND RACHEL SPINS AWAY FROM THE RING. THE LIGHT FOLLOWS HER, AND NOW WE SEE QUINN THERE, WAITING, BREATHLESS.

**RACHEL (cont'd)**

_Didn't we have the best of times,_

_When love was young and new?_

_Couldn't we reach inside and find,_

_That world of me and you?_

SHE REACHES OUT, AND SLOWLY - OH SO SLOWLY - QUINN TAKES HER HAND. AND A SMILE BREAKS OUT ON HER FACE.

**RACHEL (cont'd)**

_We'll never lose it again._

_Coz once you know what love is,_

_You never let it end._

FINN APPEARS BEHIND THEM, LOOKING SHATTERED. WE STAY FOCUSED ON HIM, AS RACHEL FINISHES THE SONG.

**RACHE****L****(cont'****d) **

_Didn'__t __w__e __almos__t __hav__e __i__t __all? _

_Th__e __night__s __w__e __hel__d __o__n __ti__l __the morning._

_You know you'll never love that way again._

_Didn't we almost have it all? _

_Didn't we almost have it all?_

THE LIGHTS COME BACK ON.

RACHEL IS STANDING WITH QUINN. FINN IS ALONE, STARING AT THE ENGAGEMENT RING WHERE HE DROPPED IT ON THE FLOOR. AROUND THEM, THE CROWD ARE WHISPERING TO EACH OTHER. FINALLY, FINN LOOKS UP.

**RACHEL (cont'd)**

I'm sorry.

**FINN**

Don't be.

(BEAT)

We almost had it all. It's more than most people ever get.

AND WITH THAT, HE TROOPS THROUGH THE CROWD WHO, ONCE AGAIN, MAKE WAY FOR HIM. RACHEL'S LIP IS TREMBLING AS TEARS BUILD IN HER EYES. QUINN PULLS HER CLOSE, AND:

**COMMERCIAL BREAK:**

.

.


	14. The Future's Waiting

**ACT 7, SCENE 55**

**EXT. SHALOM MOTEL**

A SHUTTLE BUS TAKES UP THREE PARKING SPACES IN THE MOTEL LOT. THE GANG - MINUS QUINN AND RACHEL - ARE LOADING THEIR BAGS INTO IT'S MASSIVE CARGO HOLD. PUCK AND FINN ARE SITTING ON THE BOOT OF PUCK'S CAR, WATCHING.

**PUCK**

We never learn, do we?

(BEAT)

Rachel and Quinn are like, our kryptonite!

**FINN**

So, that means I'm Superman and you're... Supergirl?

**PUCK**

Screw you, Superdork.

FINN GRINS.

**FINN**

I dunno. I think I needed this. I spent too many years hanging onto what could've been. Maybe now I can move on.

**PUCK**

Know what you mean, brother. It's time for this sex shark to start swimming again.

**FINN**

Sex shark?

**PUCK**

I didn't tell you about the sex shark thing?

**FINN**

No. And don't feel like you have to.

PUCK ELBOWS HIM SO HARD, HE ALMOST FALLS OFF THE CAR. KURT APPROACHES THEM.

**KURT**

So... I guess I'll see you at Christmas?

**FINN**

Sooner. I'll come visit during summer vacation. You can take me to Coney Island.

**KURT**

Want me to win you a teddy bear?

**FINN**

That would be _awesom__e_.

KURT GRINS. FINN SLIPS OFF THE CAR AND HUGS HIS BROTHER. BLAINE APPROACHES.

**BLAINE**

Hey! Hands off my man!

**PUCK**

What man?

**FINN**

(TO BLAINE)

You going to New York?

**BLAINE**

Yeah.

**FINN**

Take care of each other.

**KURT**

(TAKES BLAINE'S HAND)

We will.

SAM AND MERCEDES COME UP TO THEM.

**SAM**

I guess this is it, huh?

**MERCEDES**

I'm gonna miss you guys.

HUGS ALL ROUND. MIKE, TINA, RORY, ARTIE AND SUGAR JOIN THEM, ALSO GET IN ON THE HUGGING.

**ARTIE**

We can't wait so long before getting together again.

**SUGAR**

Yeah. This was too much fun.

**SANTANA (O.S.)**

So, I say we make a pact...

SHE AND BRITTANY APPROACH, ALSO HOLDING HANDS.

**SANTAN****A****(cont'****d****)**

We get together once a year. Doesn't have to be in Lima. I, for one, wanna see Mercedes' house that they featured on _MT__V __Crib__s_.

**MERCEDES**

Girl, once you try my jacuzzi, you ain't never leaving.

**TINA**

I think that's a great idea!

**MIKE**

So we do it. Once a year.

**RORY**

Fantastic!

**SAM**

Someone should let Quinn and Rachel know.

**FINN**

I'll do it.

**BRITTANY**

What?

**FINN**

I'm not gonna make the same mistake again. I'm not gonna let them drift out of my life just because... well...

**BRITTANY**

You're like a superhero, you know that?

SHE HUGS HIM.

**FINN**

Thanks. Puck's Supergirl.

**PUCK**

Dude, I'm gonna kick your ass!

**SANTANA**

I could see you rocking that outfit. The skirt, the boots...

**PUCK**

In your dreams, sweetheart.

FROM INSIDE THE SHUTTLE, THE DRIVER HONKS HIS HORN.

**ARTIE**

We need to get going.

**FINN**

Travel safe, guys.

ONE BY ONE HE HUGS THEM ALL AGAIN, AND THEY ALL PILE INTO THE SHUTTLE. FINN AND PUCK STAND ON THE SIDEWALK, WAVING AS THEIR FRIENDS RECEDE INTO THE DISTANCE.

**PUCK**

I should hit the road too. But first...

HE SKIPS OVER TO HIS CAR, AND TAKES OUT A FOLDED PIECE OF CLOTH. IT'S QUITE LARGE, LIKE A FLAG.

**PUCK (cont'd)**

Got it made in Cleveland. Figured you'd find a place for it.

**FINN**

Thanks.

**PUCK**

Stay cool, brother.

**FINN**

Keep rockin', alright?

**PUCK**

You know it.

THEY HUG. THEN PUCK CLIMBS INTO HIS CAR AND, WITH A FINAL SALUTE, DRIVES OFF.

**CUT TO:**

**.**

**.**

**ACT 7, SCENE 56**

**INT. WILLIAM MCKINLEY HIGH, AUDITORIUM**

OPEN ON A LARGE BANNER THAT READS: "NEW DIRECTIONS. NATIONAL SHOW CHOIR CHAMPIONS. 2012." BY THE COLOUR, WE CAN TELL THIS IS PUCK'S GIFT. FINN HAS ATTACHED IT TO A ROPE, AND NOW REELS IT IN. THE BANNER CLIMBS HIGH UP INTO THE EAVES ABOVE THE STAGE. HE TIES THE ROPE IN PLACE, THEN STEPS BACK TO THE EDGE OF THE STAGE TO ADMIRE HIS HANDIWORK.

**RACHEL (O.S.)**

Looks good.

(BEAT)

Looks like it belongs.

FINN TURNS AROUND, RACHEL SMILES HESITANTLY AT HIM AS SHE COMES DOWN THE AISLE.

**FINN**

Hey. Thought you'd left.

**RACHEL**

Quinn's saying goodbye to Coach Sylvester.

**FINN**

You going back to New York?

**RACHEL**

(SHAKES HER HEAD)

San Francisco.

**FINN**

Really?

(BEAT)

But New York is your dream.

**RACHEL**

I have a new dream now.

(BEAT)

I want to make it work this time, with Quinn. For once in my life, see that its okay to be ambitious and chase what you want, but it all means nothing if you don't have someone to share it with.

**FINN**

Wow. Rachel Berry giving up something for someone else? Say it isn't so!

**RACHEL**

She's worth it.

**FINN**

Yes. She is.

(BEAT)

If you forget that again, you're gonna have to deal with me.

**RACHEL**

(LAUGHS)

Deal.

(BEAT)

We were up all night talking. About... what went wrong. What we can do to make sure the future happens this time. And we...

SHE TRAILS OFF, SUDDENLY SELF-CONSCIOUS.

**FINN**

What?

**RACHEL**

We want to start a family.

**FINN**

That's great. I... I wish you guys the best.

**RACHEL**

Really?

(BEAT)

Because I couldn't handle it if you hated me.

**FINN**

I could never hate you, Rachel. And not for lack of trying.

THEY TRY TO SMILE AT EACH OTHER. IT WAVERS, BUT HOLDS. FINN SITS DOWN ON THE EDGE OF THE STAGE. RACHEL SCOOTS UP NEXT TO HIM.

**RACHEL**

Can I ask you a question?

**FINN**

Sure.

**RACHEL**

You ever get the feeling our lives should fit between opening and closing credits?

FINN LAUGHS.

**FINN**

Hey, I was talking to the others, and we agreed to make a pact. Get together once a year.

**RACHEL**

Great. I don't want to lose touch again.

(LEANS OVER, GIVES HIM A PLAYFUL BUMP)

Especially with you.

**FINN**

Then we won't. Next time I come see you in a play, I'll actually let you know I'm coming.

**RACHEL**

Good. Coz I can get you tickets.

**FINN**

Oh, thank God. Last time, they sat me way in the back next to this woman who kept spitting skittles all over me everytime she coughed.

**RACHEL**

Ew!

**FINN**

Tell me about it.

EASY SILENCE FOR A WHILE. THEN:

**RACHEL**

Do you ever wonder how different it would have been - if Mr. Schu didn't come back that day? When we sang _Don'__t __Sto__p __Believing?_

**FINN**

I'd rather not.

**RACHEL**

No?

**FINN**

(SHAKES HIS HEAD)

Coz we never would've ended up here. And... crazy as it sounds... I like here.

**RACHEL**

Me too.

RACHEL LEANS BACK, DIGGING IN THE POCKET OF HER JEANS.

**RACHEL (cont'd)**

I have something for you.

(TAKES OUT THE RING)

You dropped it last night.

FINN STARES AT THE RING, THE CORNERS OF HIS MOUTH TWITCHING A LITTLE.

**FINN**

Keep it.

**RACHEL**

What? No, I can't-

**FINN**

Give it to Quinn. Do it right this time. Make an honest woman out of her.

**RACHEL**

Are you sure?

**FINN**

It was always your ring. Even if I don't get to give it to you.

ON A SUDDEN IMPULSE, SHE HUGS HIM. HE HOLDS HER CLOSE - BREATHING IN THE SCENT OF HER - ONE LAST TIME.

THEY LOOK UP WHEN THE DOOR IN BACK OPENS, AND QUINN ENTERS. SHE FLASHES THEM A SMILE AS SHE COMES DOWN THE AISLE.

**QUINN**

Hey. What are you guys doing?

**RACHEL**

Getting lost in the memories.

QUINN NODS, TURNS AROUND, TAKING IN THE GRAND OLD ARENA.

**QUINN**

We were watching you that day, you know?

**FINN**

Who?

**QUINN**

Coach Sylvester, myself, Brittany and Santana. We were up there...

(POINTS TO THE BALCONY)

We watched you performing in those ridiculous matching red shirts.

**FINN**

Hey! We looked cool!

**QUINN**

O-kay...

**RACHEL**

Why were you watching?

**QUINN**

Spying on the competition. Coach would never admit it, but I knew... we were watching the start of something special.

FINN AND RACHEL SMILE AT THAT. SILENCE SETTLES. IT GROWS SLIGHTLY AWKWARD UNTIL:

**QUINN (cont'd)**

So, are we gonna talk about-?

**RACHEL**

No!

**FINN**

Absolutely not!

**RACHEL**

Never ever!

**FINN**

No chance in hell!

**QUINN**

Okay. Good.

THE DOOR OPENS AGAIN, AND MR. SCHU ENTERS.

**WILL**

Hey, guys. This a bad time?

**FINN**

Not at all. What's up?

**WILL**

Nothing much. Just had this idea for a number bouncing around in my head, thought you might like to give it a shot.

**QUINN**

Just the three of us?

**WILL**

(SMIRKS)

Not quite.

BEHIND HIM, THE DOOR OPENS AND PUCK ENTERS. FOLLOWED BY SANTANA AND BRITTANY. THEN MERCEDES AND SAM. TINA AND MIKE. ARTIE. RORY. SUGAR. KURT. BLAINE.

**RACHEL**

What's going on?

**FINN**

I thought you guys left.

**ARTIE**

We got to the highway and decided to turn around.

**PUCK**

We never did get to finish our set last night. Thanks to the... what did you call it, Kurt?

**KURT**

Finchel drama.

**PUCK**

Right.

**RACHEL**

(TO FINN)

See what I meant by opening and closing credits?

**QUINN**

We're gonna need music, and-

(BEAT)

Oh.

THE BAND IS ALREADY TAKING THEIR PLACE ON STAGE - APPEARING AS IF FROM NOWHERE. THE GANG DESCEND ON THE STAGE.

**FINN**

What song did you have in mind, Mr. Schu?

**WILL**

Well, it's an oldie, but a goodie.

(TO PIANO PLAYER)

Brad?

THE BAND START UP. FINN GRINS.

**FINN**

Let's do this.

**RACHEL**

_Started out, just like any summer._

_Days that felt a lifetime long._

TAKES QUINN BY THE HAND, AND THEY SPIN ROUND, GRINNING JOYOUSLY AT EACH OTHER.

**RACHEL (cont'd)**

_That's when we found each other._

_And we found ourselves... oh..._

THERE'S NO SET CHOREOGRAPHY - NO MOVES - JUST A BUNCH OF PEOPLE WHO'VE BEEN THERE AND BACK AGAIN - GETTING LOST IN THE SOUND AND EACH OTHER.

**NEW DIRECTIONS**

_Now and then,_

_Don't have to look back._

_Now and then,_

_You're right here with me._

_Now and then,_

_Oh, my friend,_

_Don't say goodbye again._

QUINN GLIDES TO THE FRONT OF THE STAGE, WHERE SHE SINGS TO MR. SCHU, WHO'S CLAPPING AND LAUGHING AND BOPPING ALONG.

**QUINN**

_Lookin__g __i__n __you__r __eyes, _

_Wa__s __lik__e __a __mirror._

_Every single joy and fear._

SANTANA COMES UP, AND TAKES QUINN'S HAND. RACHEL COMES UP ON THE OTHER SIDE, ALSO TAKES HER HAND. THEY THROW THEIR HANDS UP TO THE SKY, LIKE WINNERS ON A PODIUM.

**SANTANA**

_All for one, and one for all._

_Yeah, we did it all._

THE REST OF THE GANG CROWD AROUND THE FRONT OF THE STAGE.

**NEW DIRECTIONS**

_Now and then,_

_Don't have to look back._

_Now and then,_

_You're right here with me._

_Now and then,_

_Oh, my friend,_

_Don't say goodbye again._

MIKE AND PUCK LEAP OFF THE STAGE, AND BEFORE HE CAN RESIST, HOIST MR. SCHU UP ON THEIR SHOULDERS AND LITERALLY DUMP HIM ON THE STAGE. HE THROWS UP HIS HANDS, SIGNALLING SURRENDER AS THE REST OF THE GROUP FORM A HALF MOON AROUND HIM, ENCOURAGING HIM TO SING.

**WILL**

_And though, it was long, long ago._

_So here, here inside, I know._

**NEW DIRECTIONS**

_Now and then,_

_Don't have to look back._

_Now and then,_

_You're right here with me._

_Now and then,_

_Yeah, my friend,_

_Don't say goodbye again._

THEY CLOSE INTO A TIGHT CIRCLE, ARMS AROUND EACH OTHER'S SHOULDERS. WE'RE IN THE MIDDLE OF IT, SPINNING ROUND, TAKING IN THOSE FAMILIAR FACES...

SANTANA, MERCEDES, SUGAR, MIKE, TINA, PUCK, BLAINE, SAM, BRITTANY, KURT, RACHEL, RORY, FINN, QUINN, WILL, ARTIE... FRIENDS ALL.

**RACHEL**

_Lookin__g __i__n __you__r __eyes, _

_Wa__s __lik__e __a __mirror._

_Every single joy and fear._

**QUINN**

_All for one, and one for all._

_Yeah, we did it all..._

**NEW DIRECTIONS**

_Now and then._

(_NO__W __AN__D __THE__N_)

_Now and then._

(_NO__W __AN__D __THE__N_)

_Now and then,_

_Oh, my friend,_

_Don't say goodbye..._

_Don't say goodbye..._

_Don't say goodbye again._

LAUGHTER. SO MUCH LAUGHTER.

**WILL**

As the poet once said, "In the sweetness of friendship, let there be laughter and sharing of pleasures. For in the due of little things, the heart finds it's morning, and is refreshed."

**NARRATOR**

Wait, what?

**END OF EPISODE**

**.**

**.**

**.**

And... that's it. Hope you had as much fun reading this as I did writing it. Let me know what you thought about it.

Peace out, Gleeks!


End file.
